mm: 


iy0i^:, 


mumM 


m^'^ 


r^'i<M- 


:a*;;:.  J.^'Ste^f;  •; 


^^ci^-'^fe'v"''  m^^»>' 


im^ 


■mmm 


"^f^fj^^  '"'*  '-J?^ 


X    o^O*^ 


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^hiZA^i  le^' 


^i/r^^-^^   *_V 


Po weirs  Language  Series — Part  III 


How  TO  Write 


Secondary  Lessons 


ia  the 


English  Language 


Illustrated  witli  over  150  Engravings 


By 

W.  B.  Powell,  A.  M. 

11 

Saperintendeiifc  of  Schools,  Aurora,  111- 


Cowperthwait  &  Co 

Philadelphia 


COWPERTHWAIT  &  CO.'S  EDUCATIONAL  SERIES. 
:gBgCAIIOB  LIBEc 

Warren  s  New  Geographies ^ 

Monroe's  Readers  and  Spellers y 

Monroe^  s  Neiu  Series  of  Readers y 

Monroe's  Vocal  Gymnastic  Charts^ 
Monroe' s  Reading  Charts^ 

Monroe's  Marmal  of  Physical  and  Vocal  Training , 

Apgars^  New  Geographical  Drawing-Book^ 
Greene' s  Impra-oed  Grammars ^ 

Powell's  Language  Series, 
The  Business-Standard  Copy-Books, 

Berard^s  New  U.  S.  History y 

Goodrich's  Child's  U.  S.  History, 

Buehrle's  Grammatical  Praxis, 
Hagar's  Mathematics, 
Royse's  Manual  of  American  Literature, 

Royse's  Manual  of  English  Literature, 

Appleton's  Quantitative  Analysis, 

Appleton's  Qualitative  Analysis, 

Appleton's  Young  Chemist. 

Price  Lists  and  Descriptive  Circulars  sent  free  on 
application  to  the  Publishers. 


Copyright,  1882,  by  W.  B.  POV/EL.L. 


Preface 


If  the  child  were  in  the  habit  of  formulating  in  good  Eng- 
lish his  ideas  as  he  gains  them,  the  words  representing  the 
ideas  would  become  a  part  of  his  available  vocabulary.  He 
would  then  find  no  difficulty  in  expressing  himself,  as  he 
would  have  an  appropriate  nomenclature  for  each  idea  in  his 
possession.  Many  words  are  understood  when  seen  because 
of  their  connection,  but  are  not  available  for  speech  because 
they  have  not  been  added  to  the  vocabulary  by  use.  These 
words  are  the  exact  measure  of  what  one  falls  short  of  being 
a  ready  talker. 

If  the  child  were  trained  to  express  his  knowledge,  to- 
gether with  his  thoughts  thereon  and  his  conclusions  there- 
from, while  he  is  acquiring  the  knowledge  and  while  it  is 
becoming  a  part  of  himself,  he  would  necessarily,  though 
unconsciously,  perhaps,  assimilate  the  style  of  him  who  pre- 
sents the  subjects  investigated,  as  well  as  the  nomenclature 
belonging  to  them.  His  ability  to  express  his  thoughts  would 
thereby  be  kept  parallel  with  his  taste,  and  talking  or  writ- 
ing on  these  subjects  would  not  be  difficult  for  him. 

If  the  child  were  trained  to  arrange  methodically  his 
knowledge  of  subjects  from  the  time  he  begins  to  grasp  sub- 
jects as  entireties,  his  ability  to  classify  would  grow  with  his 
knowledge,  and  classification  would  become  to  him  a  part  of 
acquirement. 

If  the  child  could  be  made  to  realize  that  a  methodical 
arrangement  of  his  knowledge  of  any  subject  is  a  composition, 
and  that,  if  his  sentences  are  intelligible  and  correct,  the  com- 


Preface, 


position  is  a  good  one,  composition-writing  would  not  be  as 
formidable  to  him  as  it  now  is  to  many. 

If  every  branch  of  study  pursued  by  the  child  were  made 
auxiliary  to  his  training  in  language,  he  would  write  a  com- 
position on  any  subject  as  willingly,  as  easily  and  as  well  as 
he  makes  a  recitation.  The  child  would  then  be  able,  as  he 
should  be  at  any  stage  of  his  school  course  below  the  grade 
involving  pure  invention  and  abstract  discussion,  to  speak  and 
to  write,  in  good  English,  his  knowledge  of  any  subject  on  a 
plane  with  his  ability  to  read  understandingly  on  that  subject. 

This  book  is  the  natural  and  logical  successor  of  Part  II.  of 
this  Series,  IIoiv  to  Talk,  and,  like  its  predecessor,  is  the  result 
of  work  in  the  class-room.  It  has  been  prepared  as  a  com- 
panion-book for  the  pupils'  advanced  Reader,  Greography,  His- 
tory and  other  text-books  of  like  grade. 

The  purpose  of  the  book  is  to  train  the  learner  in  thinking 
and  writing,  to  the  end  that  he  shall  think  methodically  and 
write  easily  and  correctly. 

The  book  does  not  enter  the  field  of  pure  invention  or 
abstract  discussion,  although  much  work  is  given  that  will 
develop  originality  of  thought  as  well  as  a  free  and  proper 
use  of  the  imagination. 

The  Author  is  indebted  to  Miss  L.  A.  Denney,  Principal  of 
the  Young  School,  and  to  Miss  E.  H.  Mattice,  Principal  of  the 
Brady  School,  for  valuable  assistance  in  collecting  the  work 
of  the  school  and  representing  it  as  here  found ;  and  also  to 
Prof.  T.  H.  Clark,  who  has  carefully  read  the  proof-sheets. 

Most  of  the  illustrations  are  from  original  designs ;  the 
others  have  been  taken,  by  permission,  from  Monroe's  excel- 
lent Series  of  School  Readers  or  from  "Warren's  Geographies. 


Index 


PART    I. 


How  to  place  the  English  Sentence  on  the 
written  page. 

Abbreviations 


PAGE 

.  27 


Capital  Let- 
ters: 


Abbreviations 29 

Names  of  the  Deity 34 


Choice  of 
Words: 


Quotations 30 

The  First  Word  of  Every  Line  of  Poetry  ....  33 
^  Titles  and  Important  Words  of  a  Subject  .•  ,    .    .34 

f  All 70 

As,  So 69 

At,  To 71 

Bad 68 

Between,  Among 7? 

Consider,  Think 63 

Contemptuous,  Contemptible 68 

Dangerous 67 

Dififer,  Different 73 

Hang 65 

Intend,  Calculate 63 

Into,  In 71 

Love,  Like 62 

Only 70 

Plead,  Prove 65 

Plentiful,  Abundant 68 

Somewhat,  Some 69 

Stop,  Stay 61 

The  verb  with  If •    •    .    .  66 

Unnecessary  words— As,  At  all,  Both,  Into, 

For,  To,  With 73 

Contracted  Forms 26 

Letter  Forms 55 

Kinds— Collective 20 

Foreign 24 

Forms — Singular 11 

^ouns:       \  Plural — Collective  Nouns 20 

Compound  Nouns 19 

Foreign  Nouns 24 

Letters,  Figures  and  Signs  ...  19 
5 


Index. 


PAGE 

f  Forms— Plural — Nouns  ending  in  f  or  fe  .    .    .    .14 

Nouns  ending  in  o 15 

Nouns  ending  in  the  sound  of  s,  sh, 

ch,  j,  X  or  z 12 

Nouns  ending  in  y 12 

Nouns:        \  Nouns  having  only  the  plural  form  .    .  18 

Nouns  having  the  same  form  for  both 

singular  and  plural      17 

Nouns  whose  plurals  are  made  by  an 

internal  change 17 

Possessive , 24 

JPoetry 31-33 

Prose 33 

'  Caret 54 

Colon 53 

Comma — After  a  word  or  words  used  in  address  .  41 
Before  an  adjective  used  after  its  noun  .    .    37,  38 

Before  and  after  explanatory  words 42 

For  an  omitted  word 39 

In  a  succession  of  particulars  .        .    .    34,35 

In  connection  with  quotations 30,31 

\  With  a  part  of  a  sentence  transposed  .  .  44,  45 
With  a  pronoun  separated  from  its  antecedent  .  47 
With  a  verb  separated  from  its  subject  .    .    46;  47 

Hyphen 55 

Parenthesis 54 

Period — Part  of  an  Abbreviation 27 

Semicolon — Before    as,   viz.,    etc.,    introducing 

explanations 51, 52 

[      In  a  succession  of  elaborated  particulars    .    48,  49 

Qnotnfions 30 

Rhyme— Stanza 33 


JPunvtua- 
Hon: 


PART  11. 
Compos  ition. 

COMPARISON   AND  CONTRAST. 
Application  of  Laws . 190 

r  Description — Animals 209 

Practice:     ^      "i^^^'^^  ^^^  P^^^'^^^ i^^ 

Persons 224 

Plants      199 


Index, 


Practice, 


Prose  Exer- 
cises: 


(  Narration — Biographies 228 

Histories 236 

I       Professions 238 

-!   Poetry — Cleon  and  I     ,    .    .   Charles  Mackay  .  198 

Then  and  Now Mathias  Barr  .  196 

The  Heritage J,  E.  LoweU  .  196 

Within  and  Without 194 

C  The  Horse  and  the  Giraffe 209 

The  Maple  Leaf  and  the  Birch  Leaf     .    .  199 
The  Morning-Glory  and  the  Cypress    .    .    .  202 

The  Sleds 188 

Washington  and  Napoleon 229 


DESCRIPTION. 

Definition 110 

r  Abstract      160,  162 

Kinds:        \   Distributed 143, 158 

I  Ludicrous 168 

r  Completeness      . Ill 

Method 112 

Laws:         \  Selection 110,  111 

Symmetry 112,  113 

Unity 113 

Animals 75,  122 

Landscapes  (Pictures) 114 

Pictures 99,  121 

Plants 84,  124 

Poetry— A  Picture 108 

Dicky  and  Dolly  .    .    .    Mary  E.  Bradley  .  162 

KiNt}  James Walter  Scott  .  106 

Lord  M  arm  ion Walter  Scott  .  126 

Pau-Puk-Keewis     .    .    .    H.  W.  Longfellow  .  103 
House  in  the  Meadow  .  Louise  C.  Moulton  .  105 

The  Nursery  Doll 108 

The  Printer- Boy  Tramp  .    .    Will  Carleton  .  110 
The  Prisoner  for  Debt   .    .  ./.  G.  Whittier  .  107 

The  Rookery Muz-Muz  .  109 

The  Village  of  Grand  Pre  .   Lovgfellow  .  127 
The  Village  Preacher    .  Oliver  Goldsmith  .  163 


Practice:     i 


A  Description  of  a  Quince  Leaf 8-^ 

A  Horse Washington  Irving  .  168 

eises:  \  g^^j^g     ^^^jtm  .  166 


Prose  Exer- 


8 


Index. 


PAGE 

'  Catching  Minnows 99 

Description  of  a  Young  Man.  Mary  Clemmer  .  160 

DuROC      J.  T.  Headley  .  161 

Harvesting 114 

Pau-Puk-Keewis  (Transformed) 104 

The  Bear  of  the  Pyrenees  .    H.  A.  Paine  .  161 

The  Duck 75 

The  Horse 80 

The  Mill  on  the  Floss  .    .    .     George  Eliot  .  167 
The  Thin  Gentleman    .    .    .   Charles  Dickens  .  169 


Prose  Exer- 
cises: 


NARRATION. 
Definition 159 

'  Conclusion 138 

Description — Abstract ,    .    .    .    .  160 

Embellisll-     ■       Ludicrous 168 

ments:         |  Figures — Metaphor 174,  175 

Simile      •    •    •  171,172 

Introduction 138 

Lmws 159, 160 

History 156,181 

Poetry — Daniel  Smith 154 

Frozen  in  the  Street  .    .    .  Ella  F.  Clyde  .  155 
Goody  Blake  and  Harry  Gill.  Wordsworth 

Lily's  Ball Fun  and  Earnest 

Report  of  an  Adjudged  Case    .    .  Cowper 


Practice: 


184 
146 
182 

The  Butterfly  Ball 144 

The  Miser's  Valentine,  il/rs.  M.  A.  Kidder  .  150 
The  Owl  and  the  Pussy-Cat.  Edward  Lear  .  149 

The  Rat  and  the  Oyi^ter 148 

The  Summer  Shower 153 

The  Water  Cure    .    .    .    Mary  E.  Bradley  .  152 

Stories — From  Pictures 130, 177 

From  Imagination 179 


Prose  Exer- 
cises: 


Events  of  a  Half-Day  at  School 156 

The  Grateful  Lawyer     .    .    .  J.  O.  Holland  .  128 
The  Hunter  and  the  Lion 130 


How  TO  Write. 


P^RT    I 


Lesson  I. 

Sentences, 


You  have  learned  in  How  to  Talk  what  a  sen- 
tence is.  You  have  learned  also  the  different  kinds 
of  sentences,  how  to  begin  them  and  how  to  close  them. 

Write  ten  declarative,  ten  interrogative,  ten  imperative  and 
ten  exclamatory  sentences  suggested  by  each  of  the  following 
pictures : 


;^'>..^::3C^ 


10 


How  to  Write. 


Lesson  II. 

Nouns. 

You  have  learned  that  some  words  are  called  nouns, 
and  that  there  are  two  kinds  of  nouns. 

Write  as  many  nouns  as  you  find  suggested  by  the  following 
pictures : 


Plural  Forms  of  Nouns. 


11 


What  is  your  name  ? 

"With  what  kind  of  letter  should  it  begin? 

What  is  your  father's  name  ? 

What  is  the  name  of  this  town?  of  the  nearest  river?  of 
the  nearest  h\ke?  of  the  nearest  city?  of  this  county?  of  this 
country?  of  the  ocean  east  of  the  United  States?  of  the  State 
in  which  you  were  born?  of  the  language  you  speak?  of  this 
day?  of  this  month?  of  each  of  the  different  holidays?  Write 
the  name  of  each. 

What  kind  of  nouns  have  you  been  writing? 


Lesson  IIL 

Plural  Forms  of  J^ouns» 

You  have  found  that  a  noun  is  either  singular  or 
plural,  and  you  have  learned  the  general  law  for 
making  the  plural  form. 


12 


How  to  Write, 


Special  Law  No.  1. 

How  many  syllables  are  in  the  word  glass  ?  how  many  in 
the  word  glasses  ? 

How  is  the  plural  of  the  word  glass  made  ? 
Of  what  is  the  extra  syllable  made  ? 


Singular  Form. 

Plural   Form. 

Singular  Form. 

Plural  Form. 

lance 

lances 

fish 

fishes 

bench 

benches 

cage 

cages 

box 

boxes 

rose 

roses 

vase 


vases 


gas 


gases 


With  what  sound  does  each  of  the  above  singular  forms  end  ? 
How  many  syllables  in  each  of  the  above  plural  forms? 
Of  what  is  the  extra  syllable  made  ? 
Why  is  the  extra  syllable  necessary  to  form  the  plural  ? 

special  Law  No,  1 :  Because  s  -will  not  unite  "with  "words 
ending  in  the  sound  of  s,  sli,  ch,  j,  x  or  z,  the 
plural  of  a  noun  ending  "with  either  of  these 
sounds  is  made  "svith  the  syllable  es,  e  being  sup- 
plied "When  necessary. 

Write  twenty-five  nouns  whose  plurals  are  made  with  an 
extra  syllable  ending  in  s. 


Lesson  IV. 

Special  Law 

No.  2. 

Singular  Form. 

baby- 
pony 

Plural  Form. 

babies 
ponies 

With  what  letter  does  each  of  the  above  singular  forms  end? 


Special  Law  No.  2. 


13 


What  kind  of  letter  precedes  the  y  in  each  case  ? 
How  is  the  plural  form  made  ? 


Singular  Form. 

Plural  Form. 

monkey 

monkeys 

boy 

boys 

With  what  letter  does  each  of  the  above  singular  forms  end? 
What  kind  of  letter  precedes  the  y  in  each  case  ? 
How  is  the  plural  form  made  ? 

Special  Laiv  No,  2:  The  plural  form  of  a  noun  ending 
in  y  preceded  by  a  consonant  is  made  by  chang- 
ing y  to  i  and  adding  es. 


Spelling  Lesson. 

Use  each  of  the  following  words,  and  use  each  corresponding 
plural,  in  a  sentence  of  sufficient  length  to  show  that  you  thor- 
oughly understand  the  word : 


toy 

gravy 

fly 

study 

lady 

turkey 

journey 

county 

monkey 

buggy 

penny 

day 

cherry 

chimney 

donkey 

candy 

berry 

dairy 

alley 

peony 

jockey 

party 

city 

puppy 

lily 

pulley 

sky 

brandy 

boy 

essay 

mercy 

belfry 

daisy 

body 

attorney 

rowdy 

army 

kidney 

glory 

poppy 

key 

copy 

pity 

ferry 

duty 

story 

country 

navy 

valley 

volley 

sixty 

shanty 

14  Sow  to  Write. 


Lesson 

V. 

Special  Law  No,  3, 

Singular  Form. 

Plural  Form. 

Singular  Form.         Plural  Form. 

loaf 

loaves 

shelf            shelves 

knife 

knives 

half              halves 

calf 

calves 

staff            staves 

With  what  letter  or  letters  does  each  of  the  above  singular 

forms  end? 

How  is  the 

plural  form  made  ? 

Singular  Form. 

Plural  Form. 

fife 

fifes 

chief 

chiefs 

staff 

staffs 

safe 

safes 

With  what  letter  or  letters  does  each  of  the  above  singular 
forms  end? 

How  is  the  plural  made  ? 

Special  Law  No.  3:  The  plurals  of  some  nouns  ending 
■with  f  or  fe  are  made  by  changing  f  to  v  and 
adding  s  or  es,  as  required. 

The  plural  forms  of  other  nouns  ending  with  f  or  fe  are 
formed  by  the  general  law. 

Spelling  Lesson, 

Use  each  of  the  following  words  in  a  sentence  of  sufficient 
length  to  show  that  you  thoroughly  understand  the  word : 


Singular  Form. 

Plural  Form. 

Singular  Form. 

Plural   Form. 

muff 

muffs 

calf 

calves 

safe 

safes 

knife 

knives 

roof 

roofs 

leaf 

leaves 

Special  Law  No.  4- 


15 


Singular 

Plural                                  Singular 

Plural 

Form. 

Form.                                      Form. 

Form. 

fife 

fifes                         loaf 

loaves 

bluff 

bluffs                     life 

lives 

irrief 

griefs                      beef 

beeves 

i-iiff 

ruffs                       elf 

elves 

chief 

chiefs                      half 

halves 

proof 

proofs                     self 

selves 

wharf 

(^Eng?j  wharfs                    wharf 

(^Amer.)  wharves 

staff 

staffs                       staff 

staves 

cuff 

cuffs                        shelf 

shelves 

hoof 

hoofs                       wife 

wives 

scarf 

scarfs                      wolf 

wolves 

dwarf 

dwarfs                    sheaf 

sheaves 

serf 

serfs                       stuff 

stuffs 

strife 

strifes                     gulf 

gulfs 

Learn  the  plural  form  of  each  of  the  above  singular  forms. 

.^ 

Lesson  VI- 

Special  Law  No.  4. 

Singular  Form.  Rural  Form. 

potato  potatoes 

buffalo  buffaloes 

motto  mottoes 

With  what  letter  does  each  of  the  above  singular  forms  ent^? 
How  is  the  plural  form  made? 


Singular  Form. 


Plural  Form. 


piano  punios 

quarto  quartos 

How  is  the  plural  form  of  these  nouns  made  ? 


16 


How  to  Write. 


Special  Law  No,  4:  The  plural  forms  of  sorae  nouns 
ending  with  o  are  made  by  adding  es  to  each 
singular  form. 

Other  nouns  ending  in  o  are  made  plural  by  the  general  law. 


Spelling  Lesson, 


Use  each  of  the  following 

words  in  a  sentence  of  sufficient 

length  to  show  that  you  thoroughly  understand  the  word : 

Singular  Form. 

Plural  Form. 

Singular  Form. 

Plural  Form. 

buffalo 

buffaloes 

alto 

altos 

cargo 

cargoes 

cuckoo 

cuckoos 

calico 

calicoes 

cameo 

cameos 

desperado 

desperadoes 

canto 

cantos 

echo 

echoes 

domino 

dominos 

flamingo 

flamingoes 

duo 

duos 

grotto 

grottoes 

embryo 

embryos 

hero 

heroes 

halo 

halos 

mosquito 

mosquitoes 

memento 

mementos 

motto 

mottoes 

octavo 

octavos 

mulatto 

mulattoes 

piano 

pianos 

negro 

negroes 

portfolio 

portfolios 

portico 

porticoes 

.  quarto 

quartos 

potato 

potatoes 

solo 

solos 

tornado 

tornadoes 

two 

twos 

tomato 

tomatoes 

trio 

trios 

torpedo 

torpedoes 

tyro 

tyros 

volcano 

volcanoes 

zero 

zeros 

Learn  the  plural  of  each  of  the  above  singular  forms. 


Special  Laws  No.  5  and  No.  6.  17 

Lesson  VII. 

Special  Law  No,  5. 


Singular  Form. 

Plural  Form. 

Singular  Form. 

Plural  Form 

man 

men 

woman 

women 

foot 

feet 

tooth 

teetli 

goose 

geese 

mouse 

mice 

What  is  done  to  the  singular  form  of  each  of  the  above  nouns 
to  make  the  plural  form  ? 

Special  Laiv  No,  S:  The  plural  forms  of  some  nouns 
are  made  by  a  eliange  of  letters  within  the 
singular  form. 

What  is  the  plural  form  of  the  word  louse? 
How  is  it  made  ? 

What  is  the  plural  form  of  the  word  ox? 
How  is  it  made  ? 

What  is  the  plural  form  of  the  word  child  ? 
How  is  it  made  ? 

Use  each  of  the  words  in  the  list  above  in  a  sentence  of  suf- 
ficient length  to  show  that  you  thoroughly  understand  the  word. 


Lesson  VI I L 


Special  Law  No.  6. 

A  sheep  is  standing  alone  under  a  tree. 

1  think  these  sheep  are  having  a  fine  play. 

I  have  seen  a  full-grown  deer. 

Several  deer  are  standing  near  the  brook. 

The  moose  is  larger  than  the  deer. 

I  saw  three  moose  in  Mr.  Sheldon's  park. 


18 


How  to  Write. 


Notice  the  form  of  these  nouns. 

What  form  expresses  one? 

What  form  expresses  more  than  one  ? 

Special  Law  No,  6:  Some  nouns  have  the  same  form 
to  express  both  one  and  more  than  one. 

Spelling  Lesson, 

Use  each  of  the  following  words,  and  use  each  corresponding 
plural,  in  a  sentence  of  sufficient  length  to  show  that  you  thor- 
oughly understand  the  word : 


deer 

raoose 

pair 


8wine 

vermin 

salmon 


grouse 

trout 

herring 


sheep 

mackerel 

cannon 


Lesson  IX. 

Special  Law  Wo.  7- 

The  shears  are  on  the  table. 
The  shears  are  used  for  cutting. 
The  tongs  are  in  the  fender. 
Those  tongs  are  on  the  floor. 

Special  Law  Ko.  7:  Some  nouns  have  only  the  plural 
form. 

Spelling  Lesson, 

Use  each  of  the  following  words  in  a  sentence  of  sufficient 
length  to  show^  that  you  thoroughly  understand  the  word : 


scissors 

billiards 

tongs 

victuals 

tidings 

pinchers 

shears 

bellows 

vespers 

riches 

eaves 

goods 

ashes 

thanks 

mumps 

snuffers 

clothes 

nippers 

trowsers 

measles 

Special  Laws  No.  8  and  No.  9.  19 

Lesson  X. 

Special  Law  No»  8. 

Singular  Form.  Plural   Form. 

football  footballs 

Of  what  is  the  word  football  composed? 
Of  what  is  the  word  footballs  composed  ? 

Definition:  A  word  composed  of  two  or  more  wor<is  is 
a  compound  word. 

There  are  three  cupsful  of  jelly  on  the  table. 

In  the  word  cupsful  which  part  of  the  word  stands  for  that 
which  is  repeated? 

Which  part  is  made  plural? 

She  put  three  cupfuls  of  jelly  in  the  dish. 

In  the  word  cupfuls  which  part  stands  for  that  which  is 
repeated  ? 

Which  part  is  made  plural  ? 

Special   La  IV   No»  8:    The   part   of  a   compound   word 
that  represents  what  is  repeated  is  made  plural. 


Lesson  XI. 

Special  Law  No,  9 

How  many  i^s  in  the  word  on 
the  blackboard  ?  Count  the  s^s 
in  the  word.  How  many  p^s  are 
there  ? 


Mississippi 


In  the  above  sentences  how  many  does  the  expression  s^S 
represent?  the  expression  i^s?  the  expression  p^s? 


20 


Hoiv  to  Write. 


In  what  form  is  each  ? 

How  is  the  plural  form  of  a  letter  made  ? 


How   many  2\s  are  tliere  in 
the  number  222^ 

Count  the  5^s  in  the  second 
number. 

How  many  9^s  in  the  number  9791 

In  the  above  sentences  how"  many  are  meant  by  the  express- 
ion 2's?   6's?  9's? 

How  is  the  plural  form  of  a  figure  made  ? 


9-2-2^5. 


How  many  -\-^s  are  in  the  first 
line? 

How  many  — ^**  are  in  the  sec- 
ond Hne  ? 

How  is  the  plural  form  of  a  sign  made? 

Special  Laiv  Xo»  U:  The  plural  form  of  a  letter,  figure 
or  sign  is  made  by  adding  an  apostrophe  and  s 
to  the  ordinary  singular  form. 


Lesson  XII. 

Collective  JVotins. 

The  shepherd  is  tending  his  flock  on  the  hillside. 
The  farmer  has  a  fine-looking  herd  in  his  pasture. 
A  furious  storm  disabled  the  fleet  that  lay  in  the 
harbor. 

How  many  are  meant  by  the  word  flock  ? 


Collective  Nouns. 


21 


In  what  form  is  the  noun  ? 

How  many  are  meant  by  the  word  herd  ? 

In  what  form  is  the  noun  ? 

How  many  are  meant  by  the  word  fleet  ? 

In  what  form  is  the  noun  ? 

jyejinition  :  A  noun  which  in  the  singular  form  denotes 
more  than  one  is  a  collective  iioiiii. 


List  of  Collective  Nouns. 

Singular  Form. 

Plural  Form. 

Singular  Form. 

Plural  Form. 

assembly 

assemblies 

family 

families 

army 

armies 

flock 

flocks 

audience 

audiences 

fleet 

fleets 

bevy 

bevies 

herd 

herds 

brood 

broods 

navy 

navies 

camp 

camps 

regiment 

regiments 

company 

companies 

school 

schools 

crowd 

crowds 

set 

sets 

drove 

droves 

troop 

troops 

This  family  are  spending  the  time  in  various  occu- 
pations. 

Notice  that  the  word  family  is  a  collective  noun,  and  is  in 
the  singular  form ;  notice  also  that  the  different  members  of 
the  family  are  meant  when  it  is  said,  "  This  family  are  spend- 
ing the  time  in  various  occupations.'' 

One  may  say,  "  The  family  is  large,"  because  by  the  word 
family  a  collection  is  meant ;  but  one  should  say,  "  The  fam- 
ily are  of  different  dispositions,"  because  the  different  members 
of  the  family  are  in  mind. 

Law:  Use  a  plural  verb  -with  a  collective  noun  in  the 
singular  form  if  -what  is  said  of  the  noun  applies 
to  the  parts  that  make  the  collection. 


22 


How  to  Write. 


Make  sentences  illustrating  the  use  of  eacli  noun  in  the  pre- 
ceding list  in  the  singular  form,  with  both  the  singular  and 
the  plural  signification. 


Make  sentences  sug- 
gested by  this  picture, 
illustrating  the  use  of  a 
collective  noun  in  the 
singular  form,  with  both 
the  singular  and  the 
plural    signification. 


Make  sentences  suggested  by  this  picture,  illustrating  the 
use  of  a  collective  noun  in  the  singular  form,  with  both  the 
singular  and  the  plural  signification. 


Collective  Nouns,  23 


Exercises. 

The  congregation  was  quiet  and  attentive. 

The  congregation  had  been  dismissed,  and  were 
going  to  their  homes  when  they  were  overtaken  by 
a  rainstorm. 

Captain  Smith's  company  was  ordered  to  the  rear. 
The  nobility  were  haughty  and  exacting. 
The  crowd  was  large  and  closely  packed. 
The  committee  were  unable  to  agree. 
A  committee  was  appointed,  and  its  report  will  soon 
be  made. 

Decide  whether  the  verbs  in  the  above  sentences  are  cor- 
rectly used,  and  in  each  case  give  the  reason  for  your  opinion. 

Insert  the  correct  verb  in  each  of  the  following : 

1.  The  audience attentive  and  appreciative. 

2.  The  crowd assembled  on  the  corner,  but 

.1UL-  dispersed  by  the  policemen, 

S.  The  regiment  retreating  in  various  di- 
rections. 

Jf.  The  company playing,  singing  and  dan- 
cing. 

5.  The  assembly of  several  classes, 

6.  The  fleet overtaken  by  the  storm, 

7.  The  whole  camp  .^^^.i^i^^^awahened  by  the  noise. 

8.  The  class  on  the  flx)or  A X,  sent  to seats, 

and told  to  study  lessons. 

9.  The  class  of  which  I  speak  . not   very 

large.    It  but  twelve  members. 


24 


How  to  Write. 


Lesson  XIII. 

Foreign  Nouns. 

Many  nouns  taken  from  foreign  languages  are  not 
made  plural  by  the  laws  of  the  English  language,  but 
retain  their  original  plural  forms. 

Make  a  study  of  the  following  words,  and  use  each  in  a  sen- 
tence of  sufficient  length  to  show  that  you  thoroughly  under- 
stand it : 


Singular  Form. 

Plural   Form. 

Singular  Form. 

Plural  Form. 

analysis 

analyses 

focus 

foci 

antithesis 

antitheses 

genius 

genii 

crisis 

crises 

genus 

genera 

ellipsis 

ellipses 

radius 

radii 

hypothesis 

hypotheses 

terminus 

termini 

parenthesis    / 

parentheses 

(  vortices 

datum 

data 

vortex 

or 

medium 

media 

vortexes 

memorandum 

memoranda 

(  beaux 
{      or 
(  beaus 

automaton 

automata 

beau 

phenomenon 

phenomena 

formula 

formulae 

( indices 

larva 

larvse 

index 

-        or 

vertebra 

vertebrae 

indexes 

Lesson  XIV- 

Possessive  ForniH. 

The  boy's  hat  is  torn. 
Who  owns  the  hat  ? 


Possessive  Forms.  25 

I  can  see  three  boys'  kites  liigh  in  the  air. 
Who  own  the  kites? 

The  bird's  nest  is  made  of  twigs. 
Who  owns  the  nest  ? 

The  birds'  nests  hang  from  the  limb. 
Who  own  the  nests  ? 

The  form  of  a  noun  that  denotes  ownership  or  possession  is 
the  possessive  form. 

The  word  boy's  is  in  the  possessive  singular  form. 
The  word  birds'  is  in  the  possessive  plural  form. 

The  lady's  bonnet  has  a  long  feather  on  it. 

The  child's  hat  is  trimmed  witli  a  wreath  of  flowers. 

James's  hat  has  a  broad  band. 

The  ladies'  cloaks  can  be  seen  in  the  store-window. 

The  children's  picnic  was  in  a  large  grove. 

In  what  form  is  the  word  boy's?  bird's?  lady's?  child's? 
James's  ? 

What  is  added  to  the  ordinary  singular  form  to  make  the 
possessive  singular? 

Law:  The  possessive  singular  form  is  made  by  adding 
an  apostrophe  and  8  to  the  ordinary  singular 
form.  

In  what  form  is  the  word  boys*?  birds'?  ladies'?  chil- 
dren's ? 

What  is  added  to  each  of  the  ordinary  plural  forms  to  make 
the  possessive  plural  ? 

Laws:  A  plural  form  that  ends  "with  a  is  made  pos- 
sessive by  adding  an  apostrophe. 

A  plural  form  ending  "with  any  other  letter  than 
s  is  made  possessive  by  adding  an  apostrophe 

and  s; 


26  How  to  Write. 


Write  the  possessive  singular,  the  plural  and  the  possessive 
plural  form  of  each  of  the  following  nouns : 

Chair,  book,  fox,  boy,  lady,  valley,  box, 
fife,  knife,  latch,  penny,  donkey,  folio,  sis- 
ter-in-law, man,  church,  pulley,  man-servant, 
blackboard,  foot,  sheep,  baby,  deer,  face, 
trout,  chimney,  bookcase,  dictionary,  goose, 
ox,     mouse. 

Mackerel,  viands,  series,  snuffers,  mother-in- 
law,  scissors,  coflFee,  cinders,  wolf,  ashes, 
cherry,      greens,      food,      measles,      bellows. 

Make  sentences,  using  each  of  the  above  words. 


Lesson  XV. 

Contracted  Forms. 


Charles  didn't  go  to  school  this  morning. 
He'll   not  go  home  until  twelve  o'clock,  and  he 
hopes  his  mother  will  think  he  just  came  from  school. 

In  the  preceding  sentence,  of  what  is  the  word  didn*t  made  ? 

What  letter  is  omitted  ? 

What  is  there  to  show  the  omission  of  the  letter  ? 

Of  what  is  the  word  he'll  made  ? 

What  letters  are  omitted? 

What  is  there  to  show  the  omission  of  the  letters? 

Of  what  is  the  word  he's  made  ? 


Explain  the  formation  of  the  following  words: 
O'clock,     can't,     o'er,     won't,     ma'am,     ne'er. 


A  bbreviations.  2  7 


Definition ;  A  word  made  shorter,  or  two  or  more 
w^ords  united  and  shortened  by  the  omission  of 
one  or  more  letters,  is  Sk  coiitracled  form. 

Law:  Use  an  apostrophe  in  a  contracted  form  to 
show  the  omission  of  the  letter  or  letters. 


Explain  the  formation  of  each  of  the  following  contracted 
forms : 

Doesn't,    haven't,    they'll,   who's,    isn't,    couldn't, 
aren't,    weren't,    I'm,    shan't,    won't,    sup't. 


Lesson  XVI. 

Abbreviations. 

My  father's  name  is  John  Paul  Jones.  He  writes 
it  J.  P.  Jones. 

My  cousin's  name  is  Walter  Henry  Stratton.  He 
writes  it  W.  H.  Stratton. 

My  father  lives  in  Boston,  Massachusetts.  He 
writes  these   words  Boston,   Mass. 

My  cousin  lives  in  Chicago,  Illinois.  He  writes 
these  words  Chicago,  111. 

In  the  foregoing,  for  what  does  J.  stand?  P.?  W.?  H.? 
Mass.?  111.?  These  are  abbreviations.  Notice  that  each 
closes  with  a  period. 

Definition:  A  letter  or  letters  and  a  period  used  for  a 
-word  form  an  abUreTiatioii. 


28 

How  to  Write. 

Learn  to  spell  the  word  which  each  of  the  following  abbre- 

viations 

represents;  then  write  the  abbreviations  : 

JSl 

imes  of  Days, 

N.  C. 

North  Carolina. 

Sun. 

Sunday. 

N.H. 

New  Hampshire. 

Mon. 
Tups. 

Monday. 
Tuesday. 

N.Y. 
0. 

New  York. 
Ohio. 

Wed. 

Wednesday. 

Thurs. 

Thursday. 

Names  of  Pei'sons, 

Fri. 

Friday. 

Thos. 

Thomas. 

Sat. 

Saturday. 

Wm. 

William. 

Geo. 

George. 

Names  of  Months, 

Jan. 

January. 

Titles 

•  or  Occupations, 

Feb. 

February. 

A.B. 

Bachelor  of  Arts. 

Mar. 

March. 

Agt.    . 

Agent. 

Apr. 

April. 

Capt. 

Captain. 

Aug. 

August. 

Col. 

Colonel. 

Sept. 

September. 

Dr. 

Doctor. 

Oct. 

October. 

Esq. 

Esquire. 

Nov. 

.  November. 

Gen. 

General. 

Dec. 

December. 

Hon. 

Honorable. 

Lieut. 

Lieutenant. 

Natnes  of  States, 

M.  D. 

Doctor  of  Medicine. 

Ala. 

Alabama. 

Messrs. 

Gentlemen. 

Gal. 

California. 

Mr. 

Mister. 

Conn. 

Connecticut. 

Mrs. 

Mistress. 

Fla. 

Florida. 

P.M. 

Postmaster. 

111. 

Illinois. 

Prof. 

Professor. 

Ind.  Ter. 

Indian  Territory. 

Pnn. 

Principal. 

la. 

Iowa. 

Kep. 

Eepresentative. 

Ky. 

Kentucky. 

Eev. 

Reverend. 

La. 

Louisiana. 

Sec. 

Secretary. 

Mass. 

Massachusetts. 

Supt. 

Superintendent. 

Mich. 

Michigan. 

Treas. 

Treasurer. 

Miss. 

Mississippi. 

Wp. 

Worship. 

^4  hhrevlallons. 


29 


Acct. 
A.D. 

A.M. 
Am. 


AL  i  scellaii  eo  us. 

Account. 

Anno  Domini  (in  the 
year  of  our  Lord). 
Ante-Meridian. 
American. 


A.  orAns.     Answer. 

B.  A.  British  America, 
bbl.  barrel  oi'  barrels. 

B.  C.  Before  Christ. 
Bro.  Brother. 

Co.  County  or  Company. 

C.  0.  D.  Collect  on  Delivery. 
Com.  Committee. 

D.  C.  District  of  Columbia, 
do.  ditto.  ~ 

doz.  dozen. 

Dr.  Debtor. 

'  e.  g.  for  example, 

etc.  et  cetera  (and  so  forth). 

E.  east. 

ft.  foot  or  feet, 

h'dk'fs.  handkerchiefs. 

I.  e.  id  est  (that  is). 

Ins.  Insurance, 

inst.  instant. 

int.  interest. 

Jr.  Junior. 

Leg.  Legislature. 


M. 

mo. 
Mt. 
N.B. 

No. 
num. 
N. 
P.S. 

P.M. 

P.O. 

pp. 
RR. 

S. 

U.S.A. 


U.  S.  N, 

VIZ. 

W. 

1st 
2d 
3d 
4th 

22d 

113th 
1001st 


I  Meridian   (noonday), 
1      One  Thousand. 

month. 

Mountain. 

JSfota  berie  {note  well). 

Number  {proper  noun). 
number  {common  noun)^ 

north. 

Postscript. 
(  Post-Meridian  (in  the 
1      afternoon). 

Post-office. 

pages. 

Railroad. 

south. 
( United     States     of 
I      America. 

United  States  Army. 

United  States  Navy. 

namely. 

west. 

first. 

second. 

tlnrd. 

fourth. 

twenty-second. 
f  one     hundred    thir- 
1      teenth. 

one  thousand  first. 


Law:  An  abbreviation  should  begin  with  a  OJipftnl 
letter  if  the  word  for  which  it  stands,  used  in 
the  same  place,  would  begin  with  a  capital  letter. 


The  word  Miss  is  not  an  abbreviation, 
period  after  it. 


Do  not  place  a 


30  How  to   Write. 


Lesson  XVII. 

Quotations, 

"0,  my  pretty  butterfly  !"  said  Johnny,  as  he  ran 
rapidly  across  the  yard,  "you  will  soon  be  caught." 

Johnny  did  not  see  the  log  that  lay  just  ahead  of 
him. 

"  Did  you  catch  him,  Johnny  ?"  asked  his  little 
companion,  tauntingly. 

Johnny  answered,  rather  tartly,  "No." 

"Butterflies  are  pretty  things,"  said  Frank. 

"  Yes,  but  they  are  hard  to  catch,"  replied  Johnny 
quietly. 

Select  from  the  above  what  was  said  by  the  boys. 

What  is  there  to  show  that  these  words  are  not  those  of  the 
writer  ? 

Definition:  "Words  or  sentences  taken  from  another 
and  used  in  -writing  or  speaking  are  quotations. 

Laws:  Borrowed  words  or  sentences  should  be  enclosed 
by  quotation-marks,  to  show  that  they  are  not 
original  -with  the  author. 

A  quoted  sentence  or  a  reply,  or  exclamation 
that  takes  the  place  of  a  sentence,  should  begin 
with  a  capital  letter. 


"  Come  right  along,  Jennie  ;  the  board  is  safe," 
called  Mary  to  lier  sister. 

"T  am  afraid  to  cross,"  said  Jennie,  as  she  stepped 
timidly  on  the  narrow  board. 


Poetry.  31 

Before  she  had  gone  many  steps  the  board  tipped, 
and  she  cried,  in  a  frightened  voice,  "0  dear,  I  am 
falhng  1" 

The  board  did  not  prove  a  "  safe  "  one  to  Jennie. 

"Can  you  reach  my  hand?"  said  a  ragged  little 
boy  who  came  ruiming  up  to  them.  He  soon  drew 
her  out  upon  the  dry  ground. 

Laivs:  A  sentence,  or  a  reply  or  exclamation  that  takes 
the  place  of  a  sentence,  occurring  after  "words  not 
quoted,  is  united  to  them  by  a  coiiinia. 

A  sentence,  or  a  reply  or  exclamation  that  takes 
the  place  of  a  sentence,  occurring  before  words 
not  quoted,  is  united  to  them  by  a  eoinma,  ex- 
cept when  the  quotation  ends  with  an  exclama- 
tion- or  an  interrogation-point. 


Lesson  XVIII. 

Poetry, 

THE   CHILDREN'S   HOUR. 

Between  the  dark  and  the  daylight, 
When  the  night  is  beginning  to  lower, 

Comes  a  pause  in  the  day's  occupations 
That  is  known  as  the  children's  hour. 

I  hear  in  the  chamber  above  me 

The  patter  of  little  feet, 
The  sound  of  a  door  that  is  opened, 

And  voices  soft  and  sweet. 


32  How  ^  Write, 


From  my  study  I  see  in  the  lamplight. 

Descending  the  broad  hall-stair, 
Grave  Alice  and  laughing  Allegra, 

And  Edith  with  golden  hair. 

A  whisper,  and  then  a  silence  ; 

Yet  I  know  by  tlieir  merry  eyes 
They  are  plotting  and  planning  together 

To  take  me  by  surprise, 

A  sudden  rush  from  the  stairway, 
A  sudden  raid  from  the  hall, 

By  three  doors  left  unguarded 
They  enter  my  castle  wall. 

They  climb  up  into  my  turret 

O'er  the  arms  and  back  of  my  chair : 
If  I  try  to  escape  they  surround  me : 

They  seem  to  be  everywhere. 

They  almost  devour  me  with  kisses, 
Their  arms  about  me  entwine, 

Till  I  think  of  the  bishop  of  Bingen 
In  his  Mouse-Tower  on  the  Rhine. 

Do  you  think,  0  blue-eyed  banditti, 
Because  you  have  scaled  the  wpU 

Such  an  old  moustache  as  I  am 
Is  not  a  match  for  you  all  ? 

I  have  you  fast  in  my  fortress, 
And  will  not  let  you  depart, 


Names  of  the  Deity.  33 

But  put  you  into  the  dungeon 
In  the  round-tower  of  my  heart. 

And  there  will  I  keep  you  for  ever — 

Yes,  for  ever  and  a  day, 
Till  the  walls  shall  crumble  to  ruin. 

And  moulder  in  dust  away. 

— H.  W.  Longfellow. 
In  what  form  is  this  composition  ? 

Definitions:  A  peculiar  form  of  composition  used  for 
fanciful  or  beautiful  expression  of  thought  is 
poetry. 

Other  composition  is  prose. 

Bliyiiie  is  the  recurrence  of  like  sounds  at  cer- 
tain intervals. 

Poetry  in   which  there   is   a  recurrence   of  like 
sounds  at  the  close  of  certain  lines  rhymes. 

Poetry  that  does  not  rhyme  is  blank  verse. 

A  number  of  lines  making  a  set,  or  expressing  a 
thought,  is  a  stanza. 

With  what  kind  of  letter  does  the  first  word  of  each  line  of 
poetry  begin  ? 

Law:  The  first  word  Of  each  line  of  poetry  begins 
with  a  capital  letter. 


Lesson  XIX. 

Names  of  the  Deity. 

**  xA.no ther  day  its  course  has  run, 

And  still',  0  God,  Thy  child  is  blest; 
For  Thou  hast  been  by  day  my  San, 
And  Thou  wilt  be  by  night  my  Rest. 


34  How  to  Write, 


**  Sweet  sleep  descends  mine  eyes  to  close ; 
And  now,  while  all  the  world  is  still, 
I  give  my  body  to  repose, 

My  spirit  to  ray  Fatlier's  will." 

In  the  preceding  poem,  what  words  are  the  names  of  Deity  ? 
What  words  stand  for  names  of  Deity  ? 
With  what  kind  of  letter  does  each  begin  ? 

Law:  Any  name  of  Deity,  and  any  word  standing  for 
the  name  of  Deity,  should  begin  with  a  capital 
letter.  

Look  at  the  headings  of  all  the  lessons  you  have 
learned. 

With  what  kind  of  letters  do  they  all  begin  ? 

Law:  Titles  and  all  important  words  of  the  subject  of 
a  lesson  should  begin  with  capital  letters. 


Lesson  XX. 

The  Comma. 

I  see  a  slate  ^bA  a  knife^j^tsd  a  top^and  a  hoop. 

Notice  that  in  this  succession  of  particulars  the  particulars 
have  like  relations  to  the  word  see. 

The  word  and  is  used  to  show  this  like  relation ;  but  the 
word  and,  repeated  so  frequently,  has  an  unpleasant  sound. 

In  speaking  the  sentence  it  is  customary  to  omit  the  word 
and,  and  to  make  a  slight  pause  after  each  particular,  except 
the  one  before  the  last. 

As  written  language  should  represent  spoken  language  aa 
nearly  as  possible,  the  word  and  is  omitted  and  a  comma 


The  Comma,  35 


is  inserted,  that  the  reader  may  more  readily  understand  what 
is  written. 

I  see  a  slate,  a  knife,  a  hoop  and  a  top. 

The  knife  is  used  for  cutting,  paring  and  whittHng. 

Law:  In  -writing  a  succession  of  particulars  having 
like  relations,  the  "word  and,  except  between  the 
last  t"wo  particulars,  is  omitted,  and  a  comma 
is  used  in  its  place. 


I  have  a  small  and  hard  and  good  ball. 

This  is  a  succession  of  particulars  describing  the  ball. 
The  word  and  should  be  omitted,  and  a  comma  inserted  in 
its  place. 

I  have  a  small,  hard,  good  ball. 

The  tiger  is  a  large,  wild,  fierce  animal. 

Exceptions  to  the  Latv :  "When  several  particulars  hav- 
ing the  same  relation  are  used  to  describe,  and 
are  joined  directly  to  the  word  described,  the 
word  and  is  omitted  in  every  case,  and  a  com- 
ma is  put  in  its  place. 


Give  the  reason  for  the  use  of  the  comma  in  the  following : 

He  has  horses,  cattle  and  sheep  in  one  lot. 

Men,  women  and  children  stare,  cry  out  and  run. 

Oliver  Goldsmith's  style  of  writing  is  noted  for  its 
simplicity,  sweetness  and  strength. 

Some  of  his  best  works  are  The  Deserted  Village, 
The  Traveler  and  The  Vicar  of  Wakefield. 

Prescott  has  won  a  wide  circle  of  friends  by  the  seren- 
ity, cheerfulness  and  purity  of  his  personal  character. 


36 


How  to  Write. 


Insert  commas  below,  where  they  are  needed,  and  give  your 
reasons : 

A  great  many  landscapes^  sketches^portraits^draw- 
ings  water  colors^pencilings^and  works  in  crayon  were 
exhibited. 

.    The  Memorial  Building  at  Philadelphia  is  of  iron^ 
granite  and  glass. 

There  is  something  to  add  *to  alter  or  to  regret. . 

Empires  rise^  flourish  and  decay. 


Drill, 


The  Comma. 


37 


Write  six  sentences  suggested  by  each  of  the  foregoing  pic- 
tures, each  of  which  shall  contain  a  succession  of  particulars, 
three  under  the  law  and  three  under  the  exception. 


Lesson  XXI. 

The  Comma  {Continued). 

The  night  an*  Kalmy  and  sweety  j^.ttip  up  from  the 
valley. 

"Poor  Arnold,  dying  of  hunger,  panting  with  thirst, 
hugs  the  rough  rock  frantically." 

In  the  first  sentence,  to  what  are  the  adjectives  balmy  and 
sweet  related  ? 

What  is  used  to  show  the  relation  between  these  adjectives 
and  the  word  they  qualify  ? 

In  the  second  sentence,  to  what  are  the  adjectives  dying" 
and  panting-  related? 

What  is  used  to  show  the  relation  between  these  adjectives 
and  the  word  they  qualify? 

Notice  that  these  adjectives  are  placed  after  the  word  they 
qualify. 


38  How  to  Write. 


Law:  'When  an  adjective  is  placed  after  the  word, 
which  it  qualifies,  a  eomiiia  is  used  to  show  the 
relation  existing  between  the  two. 


Give  the  reason  for  the  use  of  the  comma  in  the  following: 

He  wrote  to  the  king  of  Spain,  supplicating  him 
for  aid. 

They  whiled  away  the  time,  gathering  flowers  and 
singing  songs. 

11$  was_taken  to  the  place  of  execution,  bound  on 
a  cart,  accompanied  by  a  priest  and  escorted  by  nu- 
merous soldiers. 

Then  the  thoughts  of  men,  nobler,  braver  and  purer 
than  he,  rose  in  his  mind. 

''Like  ai'^^radle,  rocking,  rocking, 

Silent,  peaceful!  to  and  fro — 
Like  a  mother's  sweet  looks  dropping 

On  the  little  face  below — 
^augs-the  green  e^ili,  swinging,  turning, 

Jarless,  noiseless,  safe  and  slow. 
Falls  the  light  of  God's  face,  bending 

Down  and  watching  us  below." 

Insert  commas  below, where  +hey  are  needed,  and  give  your 
reasons : 

The  room. opening  from  the  parlor  .was  next  exam- 
ined. 

"Think  of  him.  reckless  , i  thriftless^  vain  .pif  you 
will — but, merciful^  gentle^  generous v[u  11  of  love  and 
pity." 


The  Comma.  39 


His  friend ,  sitting  down  by  his  bedside;  remained 
with  him  half  an  hour. 


'Plump  little  baby-clouds; 

Dimpled  and  soft. 
Rock  in  their  air-cradle 
Swinging  aloft," 


Lesson  XXII. 

The  Comma  (VorUmued). 
John  has  a  ball  and  James,  a  bat. 

The  second  part  of  the  preceding  sentence  means,  James  has 
a  bat. 

The  word  has  shows  the  relation  of  the  word  James  to 
the  word  bat. 

In  speaking  the  sentence  the  word  has  may  be  omitted  and 
a  slight  pause  made  after  the  word  James. 

In  the  written  sentence  the  omission  is  indicated  by  the 
comma.  

The  great  fire  in  Chicago,  Illinois,  occurred  October 
8,  1871. 
Chicago,  Illinois,  means  Chicago  in  Illinois. 
October  8,  1871,  means  October  8    of  1871. 

Laiv:    A  relation  word    is    frequently  omitted   if   the 
relation  is  easily  understood. 

In  writing,  such  omission  is  indicated  by  the  comma. 


40  How  to  Write. 

Give  the  reason  for  the  use  of  the  comma,  and  tell  what 
words  are  omitted,  in  the  following : 

"Little  moments  m.ake  an  hour; 

Little  thoughts,  a  book ; 
Little  seeds,  a  tree  or  flower ; 

Water-drops,  a  brook  ; 
Little  deeds  of  faith  and  love 
Make  a  home  for  you  above." 

The  one  is  a  German  and  the  other,  a  Frenchman. 
The  gardener  planted  the  beans  here,  the  peas  there. 
The  little  girl  played  the  piano,  and  the  boy,  the 
violin. 

It  occurred  January  9,  1875. 

Cotton,  sugar-cane  and  rice  are  raised  in  the  South- 
ern States  and  the  grains,  in  the  Northern  States. 


Punctuate  the  following  sentences,  and  give  your  reason  in 
each  instance : 

He  shipped  the  rice  to  New  York  the  cotton  to 
Lowell. 

The  telegram  w^as  sent  from  CincinnatijOhio  April 
14  1881. 

He  stole  the  marbles  and  his  brother,  the  dominos. 

When^ right  go  ahead. 

I  sent  the  letter  to  John  Ray.  347  Sixth  Street. 
Nashville*  Tennessee. 


The  preceding  law  is  observed  in  writing  letters. 

When  one  writes  a  letter  it  is  desirable  to  state  where  he  is 


The  Comma.  41 


and  when  he  writes ;  so  he  gives  the  name  of  his  town  and 
the  name  of  his  State : 

{Place.)  '0a>i^€^<^€7!^^e^  O^i^^^^-^^ 


{Place.)  2,^0  -M-U^i/^i^Hriy,  CA.  ^^., 

{Time.)  J?^^^    6,  /cfcf^. 


^"^>«;A^^-^^ 


Lesson  XXIII. 

The   Comma  {Continued). 

John,  do  you  see  that  large  eagle  on  the  cliff? 
Where.are  you  going,  Mary,  in  so  great  haste? 

In  the  preceding  sentences,  John  and  Mary  represent  the 
persons  addressed. 

Laiv:  The  "word  or  words  representing  a  person  or 
thing  addressed  are  joined  to  the  rest  of  the  sen- 
tence by  ii  oomma  or  commsis. 


42  How  to  Write. 


Urill. 

Charles,  go  to  the  bookcase-  and  bring  me  Macau- 
lay's  Hidory  of  England, 
William,  close  the  door  and  take  your  seat. 


Lesson  XXIV. 

The  Coiuma  (Gofitinued). 

The  elephant(  the  largest  of  land-animals^  has  a 
kind  disposition. 

Notice  that  the  expression,  "  the  largest  of  land-animals," 
explains  the  word  elephant. 

rron(  the  most  useful  metal,; is  found  in  the  United 
States. 

What  is  the  office  of  the  expression,  "  the  most  useful  metal  "  ? 


Ney(one  of  Napoleon's  marshalsjwas  the  son  of  a 
poor  tradesman. 

What  words  are  explanatory? 

What  connects  the  part  of  the  sentence  used  for  explanation 
with  the  part  explained? 

Lata:  A  part  of  a  sentence  introduced  for  explanation 
is  connected  "with  the  rest  of  the  sentence  by 
a  com  ma  or  commias. 


Give  the  reason  for  the  use  of  the  comma  in  the  following : 

H.  W.  Longfellow,(  an  American  poet/  was  born  in 
1807.  _ 

The  duck]  a  web-footed  bird /belongs  to  the  Order, 
Lamellirostres. 


The  Comma. 


t 


Peking  a  city  in  China/  is  larger  than  New  Yorl^. 

Jamestown(  the  first  permanent  English  settlement 

in  America/ is  situated  on  the  James  River  in  Virginia. 

Prof.  Morse(  the  inventor  of  the  telegraph)  died  in 

1872.  . 

In  the  following  sentences,  insert  commas  where  they  are 
needed,  and  give  your  reasons : 

March(the  third  month  of  the  yeariis  often  very  cold. 
Charles  I. fan  English  kingJwas  beheaded  in  1649. 
The  tadpole  (or  polliwogpecomes  a  frog. 
The  petals  of  the  daisyjday's  eyejclose  at  night. 
New  YorWnamed  from  the  duke  of  York) was  set- 
tled by  the  Dutch  in  1623. 

The  same  law  applies  to  the  complimentary  closing  of  a  letter 
before  the  signature  ;  as, 


•-^  -kc/^^^j^^ 


^^^^-^    <^^e-e^fe^^f  de^^^n-^-i/^ 


e-^^'Tf. 


44  How  to  Write. 


When  the  complimentary  address  of  a  letter  consists  of  two 
or  more  parts,  the  parts  are  united  by  a  comma,  according  to 
this  law ;  as. 


1^  ^  -^f€^y?.ee<f^^, 


^^J2€^^/ 


Lesson  XXV. 

The  Comma  {Continued). 

In  these  strange  migrations,  one  bird  acts  as  leader. 

The  natural  \vay  to  state  this  is :  One  bird  acts  as  leader  in 
these  strange  migrations. 

Do  you  see  the  difference  in  form  between  the  two  statements? 


After  lie  Had  slept  about  half  an  hv^ar,  he  awoke 
again. 

What  words  in  the  above  sentence  are  not  in  their  natural 
order  ? 

How  are  they  united  with  the  rest  of  Lne  sentence  ? 

Words  not  written  in  their  natural  order  are  said  to  be  trans- 
posed. 


The  Comma. 


45 


Law:  A  transposed  part  of  a  sentence  is  united  ■with 
the  rest  of  the  sentence  by  a  comma. 


Give  the  reason  for  the  use  of  the  comma  in  the  following 

sentences : 

Offended  and  proud,  he  left  the  command. 

"After  struggUng  bravely  for  self-defence,  France 
at  length  found  her  savior  in  the  young  Corsican." 

Of  the  scenery  along  the  Hudson,  many  speak  with 
enthusiasm. 

For  emphasis,  many  words  are  printed  in  italics. 


Drill. 

>  The  children  went  home. when  school  was  dismissed. 
They  have  a  halfvholiday^  on  Wednesday. 


U 


The  owl  seeks  its 


Pi'ey/ 


after  dark. 


:  It  cannot  see  wellyin  the  bright  sunshine. 
^  It  sits  among  the  branches  or  in  the  hollow  of  a 
tree, during  the  long  summer  days. 

Transpose  and  punctuate  the  preceding  sentences. 


"Write  five  sentences 
suggested  by  this  pic- 
ture, with  one  or  more 
elements  out  of  their 
natural  order.  Punctu- 
ate  each     properly. 


46 


How  to  Write. 


Write  five  sen- 
tences suggested 
by  this  picture, 
with  one  or  more 
elements  out  of 
their  natural  or- 
der. Punctuate 
each  properly. 


Punctuate  the  following  sentences : 

>One  day  John  found  a  box  of  beads  belonging  to 
his  sister. 

;  ■  Par  in  the  distance ^the  light  of  the  burning  village 
was  seen. 

In  the  dead  of  the  night  the  three  men  made  their 
escape.  ' 

When  a  tree  is  sawed  across  the  trunk^layere  like 
rings  appear. 

Tf  In  India  along  the  Ganges  River ^the  white  p'^ppy 

IS  raised. 
^^  After  long  heavy  rains.,  some  rivers  become  so  high 

that  they  overflow  their  banks. 


X 


Lesson  XXVI. 

The  Comma  {Continued). 

Ivbut  not  he,  am  to  go. 

Maryibut  not  her  brothers,  was  in  the  wrong. 

The  first  sentence  means,  "  I  am  to  go,  but  he  is  not  to  go." 


The  Comma.  ^& 


The  second  sentence  means,  "  Mary  was  in  the  wrong,  but  her 
brothers  were  not  in  the  wrong." 

What  is  the  subject  of  the  verb  am  in  the  first  sentence? 
What  is  between  the  verb  and  its  subject? 
What  unites  the  verb  with  its  subject? 

What  is  the  subject  of  the  verb  "was  in  the  second  sentence? 
What  is  between  the  verb  and  its  subject? 
What  unites  the  verb  with  its  subject? 

Law:  A  verb  and  its  subject  separated  by  a  sentence, 
or  by  "words  representing  a  sentence,  are  united 
by  a  comma  placed  before  the  verb. 


If  the  relation  word  but  is  omitted,  a  comma  is  used  to  show 
the  relation. 

Kemember  it  is  I,  not  he,  whom  you  accused. 

This  sentence  means,  "  Remember  it  is  I  whom  you  accused; 
remember  it  is  not  he  whom  you  accused." 

What  is  the  antecedent  of  the  pronoun  whom  ? 
What  is  between  the  pronoun  and  its  antecedent  ? 
What  unites  the  pronoun  with  its  antecedent  ? 

Law:  A  pronoun  and  its  antecedent  separated  by  a 
sentence,  or  by  -words  representing  a  sentence, 
are  united  by  commas  placed  before  and  after 
the  separating  -words. 


Give  the  reason  for  the  use  of  the  comma  in  the  following 
sentences : 

He  soon  discovered  that  Mary  but  not  her  play- 
mates, was  in  the  garden. 

She  told  Henry  but  not  his  sisters,  to  go. 


48  How  to  Write. 


The  boys,  but  not  their  father,  were  to  sail  in  the 
small  boat. 

He  soon  saw  that  it  was, I,  not  my  friend,  whom 
he  had  injured. 

It  was  the  house,  not  the  barn,  that  was  burned. 


Lesson  XXVII. 

The  Semicolon. 


The  elephant  has  a  large,  broad  head  and  a  long, 
flexible  trunk  and  two  long,  heavy  tusks  and  a  large 
awkward  body. 

This  is  a  succession  of  particulars,  each,  of  which  is  elaborated 
or  described,  and  you  will  notice  that  the  elaboration  of  each 
particular  requires  the  use  of  the  comma ;  as,  "  large,  broad 
head." 

The  mutual  relation  of  these  elaborated  particulars  is  shown 
by  the  word  and ;  but  it  is  better  to  omit  the  word  and  and 
supply  a  semicolon,  except  between  the  last  two  particulars, 
where  the  comma  and  the  word  and  are  used. 

The  elephant  has  a  large,  broad  head;  a  long,  flex- 
ible trunk ;  two  long,  heavy  tusks,  and  a  short,  thin 
tail. 

The  hat  has  a  low,  round  crown ;  a  narrow  rolling 
brim,  and  a  broad  satin  band.  x 

The  lioness,  when  hungry,  will  watch  noiselessly 
for  her  prey ;  spring  upon  it  when  least  expected ; 
seize  it  with  her  massive  jaws ;  carry  it  to  her  den, 


The  Semicolon.  49 


and,  111  company  with  her  mate  and  whelps,  feed  upon 
it  at  will. 

Yon  will  notice  that  the  above  is  a  series  of  particulars  that 
have  like  relations  to  the  word  lioness,  and  that  this  mutual 
relation  is  shown  by  the  semicolon. 

Law:  In  a  succession  of  particulars,  one  or  more  of 
which  are  described  or  explained  at  some  length, 
the  connection  is  sho^wn  by  tlie  semicolon,  ex- 
cept between  the  last  two  particulars,  w^here  llie 
eomma  and  the  word  and  are  used. 


Give  the  reasons  for  the  use  of  the  semicolon  in  the  following: 

A  bit  of  dry,  brown  bread;  a  half  cup  of  milk,  and 
a  small,  partly-decayed  apple  formed  his  meal. 

There  were  no  mean,  stinging  accusations  in  these 
letters  ;  no  angry,  defiant  threats,  and  no  unreason- 
able demands. 

He  heard  a  low,  deep  gjxiid  ;  then  a  soft,  catlike 
tread,  and  could  even  feel  the  hot  breath  .of  the 
animal  upon  his  cheek. 

''American  nationality  has  made  the  desert  to  bud 
and  blossom  as  the  rose  ;  quickened  to  life  the  giant 
brood  of  useful  arts  ;  whitened  lake  and  ocean  with 
the  sails  of  a  daring,  new  and  lawful  trade,  and  ex- 
tended to  exiles,  flying  as  clouds,  the  asylum  of  our 
better  liberty." 

"A  man  cannot  speak  to  his  son  but  as  a  father ; 
to  his  wife  but  as  a  husband  ;  to  his  enemy  but  upon 
terms  ;  whereas  a  friend  may  speak  as  the  case  re- 
quires." 


60  How  to  Write. 

**  One^step  and  then  another, 

And  the  longest  walk  is  ended  ; 
One  stitch  and  then  another, 

And  the  largest  jent  is  mended; 
One  brick  upon  another, 

And  the  highest  wall  is  made ; 
One  flake  upon  another, 

And  the  deepest  snow  is  laid." 

God  hath  a  presence,  and  that  you  may  see 
In  the  fold  of  the  Hower,  the  leaf  of  the  tree ; 

In  the  sun  of  the  noonday,  the  star  of  the  night; 
In  the  storm-cloud  of  darkness,  the  rainbow  of  liglit 

In  the  waves  of  the  ocean,  the  furrows  of  land; 
In  the  mountain  of  granite,  the  atom  of  sand. 

Turn  where  ye  may,  from  the  sky  to  the  sod, 
Where  can  ye  gaze  that  ye  see  not  a  God  ? 

— Eliza  Cook. 


Punctuate  the  following  sentences  : 

The  squirrel  has  a  round  head»  slender  body  cov- 
ered with  fur '  long  ^bushy  taihfour  toes  on  each  fore 
foot*,  and  five  toes  on  each  hind  foot. 

Under  Washington  a  republican  government- was 
established', the  credit  of  the  country. restored,  and  the 
money  of  the  treasury  doubled. 


The  Semicolon. 


51 


Write  four  sentencewS,  each  of  which  shall  contain  a  succession 
of  elaborated  particulars,  suggested  by  the  following  pictures : 


^  ^ 

^     Lesson  XXVllI. 

The  Semicolon  (^Continued). 
Mr.  Ames  sells  many  kinds  of  fruit ;   as,  apples, 
pears;  peaches,  plums,  grapes  and  melons. 

Notice   that  the   words  apples,   pears,  etc.,  particularize 


52  How  to  Write, 


the  kinds  of  fruit,  and  that  the  word  as  introduces  the  par- 
ticulars. 

A  few  nouns  are  used  only  in  the  singular ;  as,  as- 
paragus, licorice,  bravery,  learning. 

The  plurals  of  some  nouns  are  made  by  adding  a 
syllable  not  ending  in  s;  for  example,  child,  children, 
ox,  oxen. 

Canals  are  used  not  only  as  water  highways  but 
for  irrigation  ;  that  is,  for  watering  the  fields  so 
that  plants  shall  grow  better. 

In  the  above  sentences,  what  words  introduce  the  illustrations? 
What  mark  is  placed  before  the  words  wdiich  introduce  the 
illustrations  ? 

Law:    Place    a   semicolon   before    as,  Tiz.,   to   wit, 
namely,  e.g.,  for  example,   Le,   and  tliat.  is, 

when  they  introduce  examples  or  explanations. 


Use  the  proper  marks  of  punctuation  in  each  of  ih.Q  follow- 
ing sentences,  and  give  your  reasons  : 

We  know  three  of  the  robbers*namely ,  Jones  Pear- 
sons and  Rice. 

A  singular  verb  should  be  used  with  a  singular 
subject- e.  ^/* One  of  the  boys  is  lame. 

Some  words  are  delightful  to  the  ear\  as  Ontario 
golden  oriole  aurora. 

There  are  three  railroad  routes  from  the  Missis- 
sippi Valley  to  the  Pacific  Coast'  viz ^  Northern  Pa- 
cific Central   Pacific  and  Southern   Pacific. 

The  earth's  surface  is  composed  of  two  parts 
namely  ^land  and  water. 


The  Colon.  53 


Lesson  XXIX. 

The  Colon. 

The  parts  of  a  flower  are  as  follows  :  calyx,  corolla, 
stamens  and  pistils. 

Notice  that  the  succession  of  particulars  in  the  above  sen- 
tence is  formally  introduced  by  the  words  as  follows. 


Explain  the  use  of  the  comma  in  the  following  : 
Dear,  gentle,  patient  Nell  was  dead. 

In  the  above  sentence,  what  word  introduces  the  illustration? 
What  mark  precedes  the  illustration? 


The  first  sentence  should  read  thus :  The  robin  is  a 
well-known  bird. 

What  word  introduces,  and  what  mark  precedes,  the  illus- 
tration in  the  above  sentence? 

Law:  Illustrations  or  a  succession  of  particulars  form- 
ally introduced  by  the  words  as  follows,  fol- 
lowing   or    thus    are    preceded   by   the    eolon, 

showing   their   mutual    and    subordinate   relation 
to   what   precedes. 


In  letter-writing,  the  cobn  is  used  between  the  compliment- 
ary address  and  the  body  of  a  letter. 

Law  3  for  the  use  of  the  comma  would  apply  here,  but 
that  the  address  is  usually  so  formal,  and  what  is  said  after  it 
so  long  and  subject  to  so  many  divisions,  that  a  more  significant 
punctuation-mark  seems  necessary. 

(See  lessons  on  "  The  Comma.") 


54  How  to   Write. 


Lesson  XXX. 

Tlie  Caret. 

In  writing  a  letter  every  word  should  written  cor- 
rectly. 

A  word  has  been  omitted  in  the  above. 

When  a  word  has  been  omitted  in  writing,  the  omitted  word 
should  be  written  just  above  the  place  in  which  it  belongs  (un- 
less the  whole  be  rewritten  for  the  sake  of  making  the  correc- 
tion). The  place  in  which  it  belongs  is  indicated  by  a  little 
mark  (a)  called  the  caret. 

be 

In  writing  a  letter  every  word  should  written  cor- 
rectly. 

what 

Never  put  off  till  to-morrow    you  can  do  to-day. 

nor 
Neither  the  captain    the  sailors  were  saved. 

The  JParenthesis. 

In  the  above  paragraph  in  fine  print,  study  the  meaning  of 
the  part  enclosed  in  these  marks  (  ),  which  are  called  paren- 
theses. 

Note  also  the  following : 

"Montrose  (James  Grahame)  was  made  marquis  of 
Montrose." 

My  Uncle  Toby  (clever  soul !)  was  sitting  by  the  fire. 

"Oh,  I  remember  (about  the  remotest  thing  I  can 
remember)  that  low  seat  and  the  friendly  teacher." 

When  John  first  saw  the  Scythia  (that  was  the  ves- 
sel's name),  he  was  filled  with  delight. 


Letter  FormG.  55 


Lesson  XXXI. 

The  Hyphefi. 

tt  frequently  happens  in  writing  that  it  is  necessary  to  begin 
a  word  so  near  the  end  of  a  line  that  it  must  be  finished  at  the 
beginning  of  the  next  line.  When  this  is  the  case  the  word 
should  be  separated  only  between  syllables,  and  this  separa- 
tion should  be  indicated  by  a  little  mark  (-)  called  the  hy- 
phen. 

Columbus  died  in  ignorance  of  the  real  grand- 
^i*  of  his  discovery. 

The  noble  Brutus  hath  told  you  Csesar  was  am- 
bitious. 

The  Atlantic  rolls  between  us  and  any  formi- 
dable foe. 

Leonidas,  the  brave  Spartan  hero,  gallantly  de- 
fended the  narrow  pass. 

The  Indians,  before  they  declare  war,  hold  a  sol- 
emn council. 

The  hyphen  is  also  used  between  the  parts  of  a  compound 
word.  It  should  be  used,  however,  very  sparingly.  Very 
few  compound  words  require  its  use. 


Lesson  XXXII. 

Letter  ForniH, 

In  writing  letters,  it  is  desirable  to  be  very  explicit. 
Study  form  and  have  an  eye  to  beauty  and  symmetry. 
If  you  have  but  little  to  say,  put  it  in  the  middle  of  the  page, 
and  not  at  the  top  or  at  the  bottom. 


56  How  to  Write. 


Leave  a  narrow  margin  at  the  left  of  the  page. 


<?^^^<?^^^^^^  G^-^^-^^-c^J , 


^        *  *  *  *  *  *  * 

****** 

s*  *  *  *  *  *  * 


^€. 


0e<^.  f,  /cfcf/. 

^Zyr^4d.  ^^€^^^  '^(f^^. 


*  *  *  * 

****** 
♦  »***** 


'€>-€^4d  ^t^y^yZ^^ 


4^<f^^€^ 


Letter  Forms,  57 


***** 

***** 

;;:  :;:  *  * 

****** 
******* 


t^  K^/({J^ 


Business  letters  especially  should  contain  nothing  unneces- 
sary to  an  understanding  of  what  is  wanted,  and  in  them  it 
is  better  to  use  figures,  or  both  words  and  figures,  for  express- 
ing numbers. 


58  How  to   Write. 


Sometimes  the  address  of  the  person  writing  the  letter  is 
added  to  the  signature.  In  many  cases  one's  occupation 
should  be  named  after  the  signature. 


€^yC€^yie ,  ( /Hde^^'T'^^^n , 


■tet^^^-aip, 


tZiie  de-T^-t^  i^  -^^  0^^^>?^^„ 


6  y^.  S-^.  -.^^  -^^^  C^.  /. 


^t^t^^z^  -kyi-t'-/^ 


€4ifiee^'M' 


S.  -O^jS^^/^  S^. 


Letter  Forms.  59 


^-c^n-^^jl^^e^u/y  CXi^^'^^f?^^ 


t^^^>f^' 


■(O^^^i^/^-^^'^^^'^^f^'f^^'^  ( 


-^^^ 


/^  (D2f 


In  directing  envelopes,  do  not  crowd  the  address  near  the 
top  or  the  bottom  or  to  one  side. 

Write  the  name  of  the  post  office  and  the  State  distinctly. 
If  the  town  be  a  small  one,  write  also  the  name  of  the  county, 
if  you  know  it. 

Eem ember  that  your  first  object  is  to  be  understood ;  your 
next  object,  to  economize  space  and  time. 


60  How  to  Write. 


Study  the  following  models : 

€i^dd . 


! 
1 

77^- 

Choice  of  Words.  61 

Choice  of  Words, 

Your  friend  came  last  nigiit ;  for  the  present,  he  is 
staying  with  my  brother. 

This  train  does  not  stop  between  here  and  Troy. 

The  one-o'clock  train  stops  at  Station  No.  6,  but 
does  not  stay  longer  than  three  minutes. 

To  stop  means  to  cease  motion. 
To  stay  means  to  remain   an  indefinite  time  in  a 
place    after   stopping". 

We  sometimes  hear  expressions  like  the  following : 

Mr.  Jones  is  stopping  at  the  Sherman  House. 
Frank  Brown  stopped  over  night  with  his  cousin. 

Are  these  expressions  correct  ?     Give  the  reason.  . 

Fill  each  blank  with  a  form  of  stop  or  stay: 

1.  WYtJi  whom  will  your  friend  ^^  •    ■  '  in  Boston? 

2.  Will  he^c^yV  in  the  city  long  enough  to  visit 
Bunker  Hill  Monument? 

3.  The  train -^^^^  at  Station  J^o.  27 y  and  y:^,dE^ 
long  enough  for  the  passengers  to  eat  dinner. 

^.  WTty  did  you  not-^^2^ over  night  in  Chicago? 

5.  At  what  hotel  did  you.y^LdJ^!^^hile  you  were  in 
Philadelphia  ? 

"  T  love  to  go  to  school,"  said  Martha. 
"  You  mean  you  Hke  to  go  to  school,  or  you  enjoy 
going  to  school,"  said  her  mother. 


62 


How  to  Write. 


"Why  can't  I  say,  '  I  love  to  go  to  school '?" 

**Love  and  like  are  not  synonyms,  and  one  should 
never  be  used  for  the  other.  To  like  means  to  be 
pleased  with  in  a  moderate  degree ;  to  enjoy.  To 
love  means  to  be  pleased  or  delighted  with,  or  to 
have  affection  for,  or  attachment  to,  some  person 
.or  object.  One  may  love  his  home,  his  country; 
the  truth  and  honor,  as  well  as  his  friends ;  but  he 
likes  the  amusements  which  he  enjoys  and  the  food 
which  he  eats." 

'*  I  understand  you,"  said  Martha.  "  ii  is  wrong 
for  me  to  say,  '  I  love  to  study  arithmetic  and  geog- 
raphy;' 'John  loves  to  play  ball,  and  Mary  loves  to 
dance.'  I  will  study  the  meanings  of  love  and  like, 
and  try  to  use  them  correctlyr" 


Write  ten  sentences  suggested  by  this  picture,  using  the 
forms  of  love  and  like. 


Choice  of  Words.  63 

Your  cousin  will  sail  for  Europe  next  week,  and 
purposes  to  write  as  soon  as  he  reaches  London. 

He  intends  to  visit  niany  important  places  while 
abroad.  He  has  calculated  the  expense,  and  thinks 
it  will  be  about  one  thousand  dollars. 

"  He  has  calculated  the  expense  "  means  He  has  counted  or 
computed  the  cost. 

To  intend  means  to  decide  upon  something"  to  be  ac- 
complished; to  purpose. 

To  calculate  means  to  reckon,  to  count  or  to  com- 
pute, and  cannot  be  correctly  used  to  express  intention  or 
purpose. 

^  Fill  each  blank  : 

1.  He  did  fhot-r  r    "to  say  anything  to  injure  you. 

2.  He  ..-a  '-.'to  see  you  yesterday. 

8.  If  we  }iadi'jJj(jJiL^he  cost,  we  would  not  have 
taken  the  trip. 

J;,.  Thpjj^.vvLuAo  go  in  the  next  steamer. 


I  think  James  is  an  honest  boy,  and  I  will  con- 
sider the  proposition   which  you  have  made. 

He  has  considered  the  question,  and  thinks  Paul's 
proposition  is  the  best. 

All  things  considered,  he  thinks  it  will  be  better 
for  you  to  remain  where  you  are. 

To  consider  means  to  think  carefully  or  seriously; 
to  ponder. 

Before  passing  an  opinion  upon  an  important  subject,  you 
ask  for  time  to  consider  the  question. 
Think  and  consider  are  not  synonyms. 


64 


How  to   Write, 


Do  you  ever  hear  expressions  like  the  following  ? — 

He  has  thought  about  the  matter,  and  considers 
Frank  a  good  boy  for  the  place. 
He  considers  her  competent  to  fill  the  position. 
Are  the  expressions  correct  ?     Give  the  reason. 

Fill  each  blank : 
'      1.  We  J-lix^  only  of  the  bright  side,  audi  do  not 
stop  to  M:  VI-    the  evils  which  may  come, 

2,  Do  not  act  hastily,  but  take  time  to^lU—  your 
course, 

3,  He  has  LsMZ  your  claims,  and  ^^^.^Our  chance 

is  good,  / 

^.  Do  you  ^/^.^.^i^^^iss  Gray  is  competent  to  teach 
the  school? 

5.  He  does  not  'jJliA±fit  is  best  for  you  to  remain 
here,  


Write  ten  sentences  suggested  by  this  picture,  using  the 
forms  of  think  and  consider. 


Choice  of  Words.  65 


To  talk  or  write  correctly,  it  i.s  necessary  for  one  to  know 
the  forms  of  the  verbs  whiiii  he  uses. 

Many  persons  make  mistakes  in  using  the  forms  of  the  verbs 
plead  and  prove. 

The  lorms  of  these  verbs  are  : 

Present  Forms.  Past  Form.  Complete   Form. 

plecicl     pleads  pleaded  pleaded 

prove     proves  proved  proved 

Fill  each  blank  with  a  form  of  one  of  the  foregoing  verbs : 

1.  The  prisoner ^^i^giU/ty. 

2.  The  hoy/L^nsL  with  his  father, 

3.  The  report  has  been  to  be  false. 

Jf.  The  will  w;^^.6'  __^__  to  be  lawful. 

5.  The  lawyer  J^ J  Vl  the  ease  in  favor  of  the  de- 
fendant. 

6.  The  boy  was  /zSdCBMguilty  and  sentenced  to  five 
years'  imprisonment . 

7.  He  has  y.tlie  problem,  and  foand  that  the 
answer  in  the  booh  is  wrong. 

There  is  no  authority  for  the  forms  proven  and  plead  to 
express  completed  action. 


The  forms  of  hang  are : 

Present  Forms.  Past  Form.  Complete  Form. 

hang  r  hangs    hung  or  hanged    hung  or  hanged 

If  taking  life  by  means  of  hanging  is  meant,  then  the  form 
hanged  is  preferred. 

The  prisoner  will  be  hanged  next  week. 


66 


How  to  Write, 


"  If  my  work  were  done,  I  would  go  to  the  lecture  this  even- 
ing "  means  My  ivork  is  7iot  done ;  therefore  it  is  impossible  for 
me  to  go. 

"  If  the  book  were  at  home,  I  would  bring  it  to  yon  "  means 
The  book  is  not  at  home ;  therefore  I  cannot  bring  it. 

If  he  were  I,  lie  would  do  the  same  thing. 
If  Queen  Victoria   were   here,   she   would  be   de- 
lighted. 

"  If  the  book  is  on  the  table,  you  may  take  it ''  means  The 
hook  may  be  on  the  table,  or.  There  is  a  possibility  of  its  being 
there. 

"  If  it  rains  to-morrow,  I  shall  not  go  "  means  It  may  rain, 
or.  There  is  possibility  of  its  raining. 

If  he  goes  to  Chicago  to-morrow,  he  will  get  the 
book  for  you. 

Notice  in  the  foregoing  sentences  that  when  anything  im- 
possible or  highly  improbable  is  supposed,  a  singular  subject 
takes  a  ^  plural  verb. 

Fill  each  blank  : 
1.  If  siKp.  ' )-:.        here,  she   would   eall  to  see  you 
this  evening.  2.  If  he  . ,  he  will  call. 


S.  If  her  dress 
morrow. 


done,  she  ivouhl  wear  it  to- 

Jf.  If  I  _-_— _  she,  I  would  not  go. 


Write  five  sentences 
suggested  by  this  pic- 
ture, making  suppo- 
sitions. 


Choice  of  Words. 


67 


Write  ten  sentences  suggested  by  this  picture,  making  sup- 
positions.  

The  lion  is  a  dangerous  animal. 

Manv  of  our  wild  animals  are  dang-erous. 

o 

It  is  dangerous  to  go  among  wild  animals. 

You  would  dislike  very  much  to  be  with  an  insane 
person,  for  you  do  not  know  what  one  wdio  is  insane 
may  do.      He  may  be  a  dangerous  person. 

K  person  who  is  sick  and  has  become  weak  is  not 
likely  to  become  dangerous,  although  he  may  be  in 
danger. 

Dangerous  mean.s  attended  with  danger;  unsafe. 


68  How  to  Write. 


Do  you  ever  hear  questions  like  the  following  asked  of  a 
person  who  is  sick  ? — 
'      -/.^  . 

"Is  he  dangerous?"      "Did  you  know  that  tliey 
considered  hi nf ' daii^erous  ? ' ' 

What  do  the  foregoing  questions  mean? 
Are  they  right?     Give  the  reason. 


"My  brother  is  sick.  He  has  a  very  bad  cold," 
said  John. 

Is  a  cold  ever  good?     What  should  John  have  said? 

"John's  conduct  is  contemptible"  m%s^\\^  Jultn's  conduct  is 
such  that  it  excites  contempt. 

You  have  a  contemptuous  opinion  of  anything  that  excites 
contempt. 

Contemptuous  means  expressing"  disdain  or  scorn. 
Contemptible  means  deserving-  of  disdain  or  scorn. 

From  the  likeness  in  sound,  contemptible  is  often  used  for 
contemptuous. 

Is  it  right  to  say,  "You  have  a  contemptible  opinion 
of  him"?     Give  the  reason. 


A  plentiful  harvest  prevents  a  famine. 

Apples  are  plentiful  at  this  season  of  the  year. 

The  price  of  wheat  is  low  because  there  was  a  plen- 
tiful crop  last  year. 

Money  is  plentiful,  and  can  be  obtained  at  a  low 
rate  of  interest. 

The  adjective  plentiful  means  abundant;  suflScient  for 
every  purpose. 


Choice  of  Words.  60 

There  is  plenty  of  wheat  for  flour. 

The  noun  plenty  means  abundance ;  enough  and  to 
spare. 

Do  not  use  plenty  as  an  adjective  ;  it  is  not  a  synonym  of 
plentiful. 

Do  you  ever  hear  expressions  like  the  following? — 

Money  is  plenty.     Oranges  are  plenty. 

Are  they  right  ?     Give  the  reason. 


He  is  somewhat  better  to-day. 
She  is  somewhat  tired,  and  should  rest  before  slie 
goes  to  tlie  lecture. 

You  will  find  some  water  in  the  pail. 
She  put  some  sugar  on  your  plate. 

To  what  is  somewhat  related  in  the  first  sentence  ?  in  the 
second  '-^ 

To  what  is  some   related  in  the  third  sentence?  in  the 
fourth  ? 

Is  it  right  to  use  some  in  the  first  and  second  sentence? 
instead  of  somewhat?     Give  the  reason. 

Mary  is  as  tall  as  her  sister. 
She  is  not  so  tall  as  her  brother. 
You  are  as  proud  as  he  is. 
She  is  not  so  proud  as  you  are. 
Ralph  is  not  so  good  as  Otto. 

Tn  the  foregoing  sentences,  notice  that  as  is  used  for  affirm- 
ing and  so  for  denying. 


70 


Hoiu  to  Write. 


Write  ten  sen- 
tences suggested 
by      this      picture, 


using    as    and   so. 


James  was  the  only  boy  who 
went  out  at  recess. 

He  paid  me  only  a  dollar. 
^    v.'^*  Frank  went  only  to  Chicago. 

He  only  prepared  the  lesson  ;  he  did  not  recite  it. 
He  laughs  only  when  he  is  pleased. 
He  skates  not  only  gracefully,  but  skillfully. 
Did  your  sister  make  pies  and  cake  for  the  picnic  ? 
She  made  only  cake. 

Sarah  only  is  the  girl  who  is  absent. 
He  cannot  sing;   he  can  only  play. 
Maud  not  only  plays,  but  sings. 

To  what  is  the  word  only  related  in  each  sentence  ? 

Transpose  the  word  only  in  each  sentence,  and  notice  the 
change  of  meaning  made  by  the  transposition. 

Study  the  meaning  of  the  word  only,  and  use  it  in  several 
sentences.  

b^   \ 
He  went  all  )^v£x;the  town  to  find  you. 

The  disease  will  spread  all  over  the  city. 

Where  did  he  go  to  find  you  ?    What  part  of  the  town  ? 
what  is  all  related  in  each  sentence  ? 

Say,  "  Over  all  the  town."     Give  the  reason. 


To 


Choice  of  Words.  71 

Relation  words  are  of  much  importance  in  the  construction 
of  sentences.  Many  a  sentence  loses  its  beauty  and  force  by 
the  improper  use  of  a  relation  word. 

I  tliink  you  will  find  Louise  in  the  parlor. 
She  went  from  the  sitting-room  into  the  parlor. 
Jolm  looked  into  the  parlor,  but  did  not  find  her 
there. 
Perhaps  she  is  in  her  room. 

Into  is  used  in  expressing  the  idea  of  passing  from  the 
outside  to  the  inside ;  as,  "  James  went  into  the  church :" 
of  going  beyond  the  surface ;  as,  "  The  boy  looked  into  the 
book:"  of  changing  a  substance  from  one  form  or  state  to  an- 
other ;  as,  "  Ice  is  changed  into  water,  and  water  into  vapor." 

In  means  "within  or  surrounded  by. 

The  girl  walks  in  the  room.  She  walked  from  one 
room  into  another. 

The  bird  flew  about  in  the  room,  but  it  flew  into 
the  cage. 

Notice  tbat  into  is  used  after  verbs  expressing  motion  tend- 
ing toward  an  object  or  a  place- 
In  is  used  after  verbs  of  motion  within  circumscribed  limit 

The  relation  words  at  and  to  are  not  always  used  correctly. 
Study  their  uses  in  the  following  sentences: 

Anna  goes  to  school  with  her  brother.  She  is  at 
school  to-day.  She  will  go  home  at  four  o'clock. 
Slie  remained  at  home  yesterday  while  her  mother 
went  to  the  fair. 


72  How  to  Write. 


Miss  Smith  looked  at  you,  and  asked  you  to  point 
out  St.  Louis  on  the  iriap. 

The  boy  pointed  the  gun  at  the  bird.  James  shot 
at  the  bird. 

Notice  that  to  is  used  in  tlie  foregoing  sentences  after  verbs 
expressing  motion  tending  toward  a  place  or  an  object. 

Notice  that  at  is  used  lo  express  the  relation  of  presence  in 
place,  time  or  direction. 

One  may  go  to  a  place ;  may  be  at  a  place ;  may  look  at  a 
person  or  an  object;  may  point  at  a  place  or  a  thing;  or  may 
point  out  a  place  on  a  map. 

One  never  points  to  an  object :  he  points  at  it  or  toward  it. 
Give  the  reason.  

"  The  apple  is  between  the  oranges "  means  Therre  is  an 
orange  each  side  of  the  apple. 

"The  apple  is  among  the  oranges"  means  There  are  morf. 
than  two  oranges  with  the  apple 

New  York  is  between  Boston  and  Philadelphia. 
You  will  find  the  picture  among  the  books  on  tho 
table. 

Notice  that  between  is  used  in  speaking  of  two,  and 
among"  in  speaking  of  more  than  two. 

The  money  was  divided  between  the  boys. 
The  money  w^as  divided  among  the  boys. 

How  many  boys  are  meant  in  the  first  sentence?  in  the  sec- 
ond?    Give  the  reasons. 

What  is  the  difference  between  the  two? 

In  the  foregoing  sentence,  it  is  incorrect  to  use  in  for  be- 
tween.    Give  the  reason. 


Choice  of   Words. 


Mary  and  Anna  differ  entirely  from  each  other. 
This  book  differs  from  that  book. 
My  ring  is  different  from  yours. 

"  Mary  and  Anna  differ  entirely  from  each  other  "  means 
}[ary  and  Anm.i  have  unlike  or  opposite  opinions,  or,  Tke. 
opinions  of  one  are  not  like  the  opinions  of  the  othei'. 

"  This  book  differs  from  that  book  "  means  This  booh  is  un- 
like that  book. 

"  My  ring  is  different  from  yours  "  means  My  ring  is  unlike 
yours. 

To  differ  means  to  be  of  unlike  or  opposite  opin- 
ions;  to  disagree. 

Do  not  say  differ  with  or  different  to.    Give  the  reasons. 

Fill  each  blank : 

1.  Williani  fell  ^LJlii.  th^  bridge     ):(    the  wate7\ 

2.  There  is  a  qnarrel.XLilJS'the  two. 

3.  Tills  booh  is  different that. 

Jf.  He  boards  y'(^//      the  Palmer  House. 

5.  These  plants  differ ^lu^-eaeh  other. 

6.  The  boy  and  the  girl  go      .       school. 


Unnecessary  words  are  sometimes  used.     Such  words  take 
much  from  the  beauty  and  strength  of  one's  language. 

Where  is  he  going/^? 
He  has  more  friends  than  you  think  tfW 
They  presented  their  father  iwitJii  a  watch. 
The  committee  carefully  investigated dniCk/ all  the 
circumstances. 
This  is  equally las)  good. 


74 


How  to  Write. 


He  has  no  desire^atjilbto  do  the  work. 
He  left  no  property  /at  alb  for  his  family. 

Read  the  foregoing  sentences,  and  omit  the  words  to,  for, 
with,  into,  as  and  at  all. 

Are  these  words  necessary  ?     Give  the  reason. 


One  day  John  and  James  were  playing  with  their 
marbles. 

James  picked  up  two  of  the  marbles  and  exclaimed, 
''0,  John!  see!     These  marbles  are \both^ alike." 

James  meant,  "  These  marbles  are  alike." 
When  you  say  two  objects  are  alike,  you  compare  them;  you 
mean  one  is  like  the  other. 

Both  means  the  two  taken  together. 

To  be  compared  they  must  be  taken  separately. 


^ 


V^  -  M-  ■::M.f 


Write  ten  sentences  suggested  by  the  above  pictures,  using 
both,  differ  or  different. 


PART    II. 


COMPOSITION -DESCRIPTION 


Composition  I, 


^^ 


THE    DUCK. 

The  duck  is  a  bird  of  jnedium  size,  with  a  body 
shaped  somewhat  like  a  boat  and  covered  with  soft, 
downy  feathers. 

It  has  a  narrow  head  and  a  broad,  flat  bill.  Its 
neck,  is  short  and  slender.  The  wings  are  rather 
small  and  the  tail  is  short.  Its  legs  are  placed,  far 
back  on  the  body  and  are  widely  separated.  The 
three  front  toes  of  each  foot  are  united  by  a  web. 
The  hind,  toe  is  free  and  is  slightly  elevated. 

The  d,uck  is  fitted  for  swimming,  by  the  shape 
and  the  covering  of  its  body,  and  also  by  the  posi- 
tion and  structure  of  its  legs  and  feet,  and  it 
spends  much  of  its  time  on  the  water. 

75 


76 


How  to   Write. 


I  wish  you  to  write  a  description  of  the  duck. 

You  will  be  helped  in  your  work  by  noticing  the  points  in 
the  description  given.  Look  at  the  picture,  then  carefully  read 
the  description  again,  and  note  as  follows: 


1. 

Size,  shape  and  coverinc;. 

Head  and  its  parts. 

3. 

Neck. 

4. 

Wings. 

5. 

Tail. 

6. 

Legs,  feet  and  toes. 

7. 

Habits — how  known. 

Before  you  try  to  describe  an  object  you  should  select  for 
your  description  the  points  which  will  best  represent  the  object 
to  the  mind  of  him  who  listens. 

You  will  be  helped  further  if  you  will  adopt  some  order  in 
giving  the  points  that  you  have  selected  to  talk  about.  Note 
the  order  above.  A  careful  selection  of  the  points,  and  a  care- 
ful arrangement  of  the  points  selected,  aid  alike  the  speaker 
and  the  listener,  the  writer  and  the  reader. 

Composition  II, 


Look  at  the  picture  and  answer  the  questions  on  the  next 
page ;  then  write  a  description  of  the  gull. 


Composition. 


77 


THE     GULL. 

1.  What   is   the   size   and  general  shape   of  this 
bird? 

2.  What  is  the  character  of  its  covering? 

S.  What  is  the  size  and  shape  of  the  head? 
Jf.  What  is  the  size,  and   what  the  shape,  of  the 
hill? 

5.  What  kindy  of  wings  ajid  tail  has  the  gull? 

6.  What  hind  of  legs  has  the  gull,  and  where  are 
they  placed? 

7.  What  kind  of  feet  has  the  gull? 

It  will  be  helpful  to  present  to  view  the  selected  points  be- 
fore the  work  of  writing  is  begun.    The  following  is  suggested: 


To2ncal  Outline, 

General  Appear- 
ance 


Description  of 
the  Gull 


Size 
Shape, 
Covering, 
Color. 


f  Head  and  parts, 
I  Neck, 

Parts      ]  WingH, 
Tail, 
Legs,  feet,  toes. 

Habits      I  How  known. 


78 


How  to   Write. 


Composition  III, 


THE     HAWK. 


Write  a  description  of  the  hawk,  referring  to  the  picture 
and  following  the  given  outline. 


Topica I  (HitU it  e. 


Size, 

Genp:ral  . 

Appear- 

Shape, 

ANCE 

Covering, 

y 

Color. 

Description  of 
the  Hawk 

r 

Head     - 

Shape, 

Eyes, 

Bill: 

Parts     - 

I 

Neck, 
Tail, 
Legs,  feet. 

Habits 

How  knov 

m. 

Composition. 


79 


Composition  IV. 

THE    CRANE. 

Write  a  description 
of  the  crane,  refer- 
ring to  the  picture 
and  making  an  out- 
line before  beginning 
to    write. 


Co^nposition  V» 


THE     ROBIN. 


Write  a  description  of  the  robin,  referring  to  the  picture 
and  making  an  outline  before  beginning  to  write. 


80 


How  to  Write. 


Cofnposifion  VI. 


THE    HORSE. 

The  horse  is  a  beautiful  animal,  having  a  long, 
graceful  body  covered  with  fine,  short  hair. 

It  has  a  slender,  shapely  head;  large,  darh  eyes  ; 
and  small,  pointed  ears.  The  nech  is  long  and 
slender,  a^nd  along  the  upper  part  of  it  grows  a 
mane  of  long,  coarse  hair.  Its  legs  are  slender 
and  its  hoofs  are  solid.  The  tail  is  composed  of 
long,  coarse  hair. 

Write  a  description  of  the  horse  pictured  above. 

Before  writing  this  description,  note  the  following  pointi 
that  have  been  selected,  and  the  order  in  which  these  points 
are  presented : 

1.  General  appearance,  shape,  covering. 

2.  Head,  eyes,  ears.         3.   Neck,  mane. 
4.  Legs,  feet.  5.  Tail. 


Com/position. 


81 


Compos  i  Hon  VII, 


Write  a  description  of  the  reindeer,  looking  at  the  picture 
and  answering  the  questions  asked  below. 

THE     REINDEER. 

1.  What  is  the  size  of  the  reindeer?   its  general 
appearance?   the  character  of  its  covering? 

2.  What  is  the  size  of  the  head? 

3.  What  is  the  size,  and  what  the  shape,  of  the 
horns  ? 

Jf-  What  is  the  shape  of  the  muzzle? 

5.  What  is  the  shap'i  of  the  neck? 

6.  What  hind,  of  legs  has  the  reindeer? 

7.  What  kind  of  feet? 

8.  What  kind  of  tail? 


82                             H(m  to  Write. 

Topical  Outline. 

Genjekal  Appeak- 

ANCE 

'  Size, 
Shape, 
Covering. 

Description  of 

rsize. 

Head     \  Horns, 

the  Reindeer 

^  Muzzle ; 

Pakts 

Neck, 
Legs, 

Feet, 
Tail. 

Composition  VIII. 


THE    CAT. 


Write  a  description  of  the  cat,  referring  to  the  picture  and 
making  an  outline  before  beginning  to  write. 


Composition. 


83 


Compositian  IX. 


THE     B  EAR. 

Write  a  description  of  the  bear,  referring  to  the  picture  and 
making  an  outline  before  beginning  to  write. 


Com^josition  X, 


THE     ALLIGATOR. 

Write  a  description  of  the  alligator,  referring  to  the  picture 
and  making  an  outline  before  beginning  to  write. 


84  How  to  Write. 


Composition  XI. 

Apex. 


Margin.  //AlAr'TN  ^AA/0^^\  -B^t^- 


Stipules. 

Petiolel 

THE  QUINCE  LEAF. 

A    DESCRIPTION    OF    A    QUINCE    LEAF. 
This  picture  represents  the  leaf  of  the  quince  tree. 

It  is  a  simple,  broadly -ovate,  net-veined  leaf.  The 
principal  veins  are  arranged  on  each  side  of  the 
mid-rib,  lihe  the  plume  of  a  feather  on  each  side 
of  the  shaft.  For  this  reason  it  is  said  to  he  feath- 
er-veined. 

The  blade  has  an  acute  apex,  an  entire  margin 
and  a  pointed  base.  The  petiole  is  of  medium 
length.  At  the  base  of  the  petiole  are  two  leaf -like 
parts  called  stipules. 

The  leaf  is  smooth  and  glossy ;  the  under  surface 
is  a  lighter  gi^een  than  the  upper  surface. 

The  leaves  of  the  quince  are  arranged  alternately 
on  the  stem. 


Composition. 


85 


Study  the  foregoing  description,  and  compare  it  with  the 
following  outline.  In  all  the  work  on  plants,  the  pupils  should 
procure  the  specimens  if  possible  and  study  them,  following 
the  outlines. 

Outline* 

Name, 
Kind, 

General  shape, 
Venation, 
Apex, 
A  Leaf   \  Margin, 
Base,    ^ 
Petiole, 
Stipules, 

General  appearance, 
Arrangement  on  the  stem. 

Study  the  foregoing  outline,  and  write  a  description  of  each 
of  the  following  leaves. 


Composition  XII, 

(Data  in  Order.) 

Simple,  ovate  -  lanceolate, 
feather- veined ;  acute  apex, 
serrate  margin,  rounded  base ; 
petiole ;  stipules ;  smooth, 
polished ;     alternate. 


THE   PEAR    LEAF. 


86 


How  to  Write. 


%r44 


Composition  XIII» 

(Data  in  Order) 

Simple, 


five-lobed, 
radiate-veined ;  acumi- 
nate apex,  recurved 
base,  margins  of  the 
lobes  serrated,  apex  of 
each  lobe  acuminate ; 
sinuses  acute  ;  petiole  ; 
exstipulate ;  silvery- 
white,  downy  under- 
neath ;     opposite. 


/    THE  MAPLE   LEAF. 


Composition  XIV, 

(Data  in  Order.) 

Simple,  oblong,  lob- 
ed,  feather  -  veined  ; 
acute,  truncate,  lobes 
slightly  toothed,  apex 
of  each  lobe  acute, 
sinuses  rounded ;  pe- 
tiole ;  deciduous  stip- 
ules;  smooth,  glossy; 
alternate. 


THE  OAK   LEAF. 


Composition, 


87 


Composition  XV. 


THE   NASTURTIUM   LEAP. 

(Data  not  ik  Order.) 


Alternate,  roundish,  simple,  wavy,  peltate  or 
shield-shaped,  exstipulate,  radiate-veined,  petiole, 
smooth. 

Composition  XVL 


THE  PASSION-FLOWER   LEAF. 

(Data  not  in  Order.) 

Radiate-veined,  lobed,  simple,  sinuses,  petiole,  stip- 
ules, cordate  or  heart-shaped,  alternate,  entire,  smooth, 
obtuse. 


88 


How  to   Write. 


Composition  XVII, 

(Data  not  in  Order.) 


Feather-veinecl,  leaflets, 
oval,  obtuse,  acute,  serrate, 
stipules,  pale,  downy  be- 
neath, alternate,  compound, 
petiole. 


THE  ROSE   LEAF. 


Composition  XVIIIo 


(Data  not  in  Order.) 


Smooth,  cover- 
ed with  a  fine 
white  powder  be- 
neath, compound, 
leaflets,  acumi- 
nate, pointed,,  lan- 
ceolate, radiate- 
veined,  serrate, 
large,    petiole. 


THE  VIRGINIA   CREEPER. 


Composition. 


89 


Cofnj^ositiofi  XIX, 


(Data  not  in  Order 


Simple,  oblong,  parallel- 
veined,  veins  extending 
from  base  to  apex,  petiole, 
long,  sheathing,  petioles  of 
leaves  rolled  one  within 
the  other,  so  as  to  ap- 
pear like  a  stalk,  not  at- 
tached to  a  stem,  grows 
directly  from  the  bulb, 
smooth,  glossy. 


LILY-OF-THE-VALLEY 
LEAF. 


Composition  XX, 

(Data  not  in  Order.) 

Simple,  lanceolate, 
parallel-veined,  halberd- 
shaped,  petiole,  long, 
sheathing,  acuminate, 
entire,  ex  stipulate, 

smooth,     glossy,     veins 
extending      from      mid- 


ri 


THE    CALLA    LEAF. 


b     to     margin. 


90 


How  to  Write. 


Composition  XXI. 

(Data  not  in  Order.) 


Blade. 


Margin 


Sheath, 


GRASS   BLADES. 


Simple,  parallel -veined,  linear,  acute,  entire, 
sheathing,  sheatli  opens  on  the  side  opposite 
the    blade,    li^ule. 


Composition, 


91 


Compositions  XXII,  and  XXIII. 


THE  OAK  LEAP. 


THE  BLACKBERRY  LEAF. 


Compositions  XXIV.  and  XXV. 


THE  WHITE  BIRCH   LEAF.  THE  HONEYSUCKLE   LEAF. 

Write  a  description  of  each  of  the  leaves  on  this  page. 


92 


How  to  Write, 


Composition  XXVI. 


s 


^.^Sr^l 


<( 


THE    MORNING-GLORY. 

(Data  in  Order.)  /^^-^^"^K^ 

Fine  fibrous  roots. 

Stem,  herbaceous,  twining  (ex- 
ogenous), round,  green,  covered 
with  minute  hairs,  branching,  al- 
ternate ;    branches    interlace, 

Leaves  large,  heart-shaped,  net- 
veined,  acute,  entire,  dull  green, 
alternate. 

Flowers  large,  slender-tubed  funnels,  purple,  pink, 


Composition. 


93 


blue,  white,  veined  and  shaded  with  a  deeper  hue, 
monopetalous,  polysepalous,  soUtary  or  in  chisters 
of  three   or  five ;    opens   in  the   morning. 

Write  a  description  of  the  morning-glory. 


Flan  of  Composition, 

Study  this  plan  for  the  description  of  a  plant. 

Procure  the  plant  if  possible  and  study  it  before  writing. 


A  Plant    \ 


Introduction 


Name, 


r  Nam 
1  Size. 


Root 


Kind. 


Stem 


Kind, 

Nature, 

Structure; 

Shape, 

Color, 

Mode  of  branching. 

Leaves         {  See  Outline,  page  85. 


Flowers 


Size, 

Shape, 

Color. 


Parts 


Corolla, 
Calyx. 

Arrangement  on  the  stem. 


94 


How  to  Write. 


Composition  XXVII, 


THE  BUTTERCUP. 

(Data  not  in  Ordee.) 

Root,  a  bulb ;  /rpAfiflnw.s  and  pastures^:  stem,  her- 
baceous (exogenous)7^rect,  hairy,  round,  green ;  a 
foot  high ;  leaves,  divided,  parted,_cleft,  toothed, 
feather  -  veined,  alternate]  flowers,  solitary,  large, 
polypetalous ;  [May,  June/  petals,  lound,  wedge- 
shape  at  the  base ;  monosepalous,  cleft ;  glossy 
deep    yellow.  /:. 

Write  a  description  c^;  the  buttercup. 


Composition, 


95 


Composition  XXVIII. 


THE   LILY. 


(Data  not  in  Order.) 

Herb  ;  perennial ;  root,  a  scaly  bulb  ;  stem,  her- 
baceous, erect  (endogenous);  leaves,  linear-lance- 
olate,   parallel- veined,    sessile,    alternate. 

Flowers,  large,  showy,  bell-shaped,  spreading  and 
recurved ;   calyx  leaves,  colored ;   spotted. 

Write  a  description  of  the  lily. 


96 


How  to  Write. 


Composition  XXIX. 


THE  FUCHSIA. 


(Data  not  in  Order.) 

Roots,  fibrous;  stem,  woody,  erect,  smooth,  brown; 
leaves,  smooth,  opposite,  toothed,  ovate ;  flowers, 
showy,  drooping;  calyx,  tubular,  funnel-form,  color- 
ed;  petals,  purple,  white,  red. 

Write  a  description  of  the  fuchsia. 


Composition. 


97 


Comimsition  XXX* 


DRUMMOND   PHLOX. 


(Data  not  in  Order. 


Fibrous  roots ;  stem,  erect,  round,  hairy,  herba- 
ceous, annual  (exogenous);  flowers,  showy,  delicate, 
red,  white,  pink,  purple,  clusters ;  corolla,  flat,  and 
round  at  the  top,  with  a  long  tube ;  leaves,  lance- 
olate, entire,  sessile,  alternate,  feather-veined;  grows 
iroin  twelve  to  fifteen  inches  high. 


Write  a  description  of  Drummond  phlox. 


as 


How  to  Write. 


Composition  XXXI. 


THE  CINQUEFOIL. 

(Data  not  in  Oedee.) 

Perennial ;  herb ;  fibrorts  roots ;  leaves,  compound ; 
leaflets,  obovate,  wedge-form,  toothed  toward  apex, 
alternate,  exstipulate,  petiole ;  stem,  trailing  on  the 
ground,  producing  runners,  herbaceous,  hairy  ;  flow- 
ers, polypetalous ;  petals,  roundish ;  calyx,  cleft,  sol- 
itary ;   found  in  grass  in  dry  fields. 

Write  a  description  of  the  cinquefoil. 


Composition. 


99 


Composition  XXXIIo 


CATCHING    MINNOWS. 

This  picture  represents  two  little  girls  watching 
their  brother  catch  ininnows. 

The  boy,  with  his  pantaloons  rolled  up  above  his 
knees,  and  his  hat  pushed  back,  is  standing  in  the 
water  near  some  rocks.  He  is  drawing  a  small  net 
out  of  the  water,  and  leans  forward  with  an  eager 
look  upon  his  face,  as  if  anxious  to  find  out  how 
many  fish  he  has  caught.  The  smaller  girl  is 
standing  on  one  of  the  rocks  in  fj^ont  of  him.  She 
is  bending  over  a  large  rock,  so  that  she  can  look 
into  the  net.     One  hand  rests  on  the  top  of  the  rock 


100  How  to  Write. 


and  the  other  is  raised  as  if  she  were  saying, 
''There!  you've  eaught  them.'* 

The  larger  girl,  who  stands  on  a  roch  at  the 
right  of  the  hoy,  is  waiting  to  receive  the  fish  in  a 
small  covered  basket.  She  also  seems  to  be  much 
interested  in  the  work,  as  she  leans  forward  watch- 
ing the  net  very  intently.  Slie  holds  her  basket  in 
front  of  her  and  has  one  hand  on  the  lid,  ready  to 
raise  it  as  soon  as  the  fish  are  caught. 

In  the  distance,  beyond  the  children,  is  seen  the 
opposite  bank  of  the  stream. 

The  picture  is  very  natural,  and  as  one  looks  at 
it  he  becomes  interested  in  the  success  of  the  chil- 
dren, and  wishes  himself  there  to  join  in  the  sport. 

Write  a  description  of  the  picture  given  above. 

Note  the  following  points  that  have  been  selected,  and  the 
order  in  which  they  have  been  arranged,  before  writing  the 
description : 

1.  Subject  of  the  picture. 

2.  Location  of  the  scene. 

3.  Position  of  the  boy. 

4.  Description  of  the  boy. 

5.  Position  of  the  smaller  girl. 

6.  Description  of  the  same. 

7.  Position  of  the  larger  girl. 

8.  Appearance  of  the  same. 

9.  Surrounding  objects. 
10.  Effect  of  the  picture. 


Composition. 


101 


Composition  XXXIII, 


PLAYING     SOLDIER. 

Write  a  description  of  this  picture,  following  the  given  outline. 

Topical  Outline. 

Subject  of  Picture. 
Location  of  Scene. 


Description 

of  a 

Picture 

(*' Playing 

Soldier") 


Principal 
Figures 


Chil- 
dren 

Bear 

WOMA 


»i 


Size, 

Position, 

Occupation. 

Size, 

Position, 

Occupation. 

Position, 
Appearance. 


Surround- ~ 
ING  Ob- 
jects 


Wagon, 
Chair. 


102 


How  to  Write. 


Conposit  ion  XXXI F. 


Name  the  subject  of  this  picture  and  write  a  description  of 
it,  selecting  the  points  and  arranging  them  in  the  form  of  an 
outline  before  beginning  to  write.  ^ 

Composition  XXX V, 


Name  the  subject  of  this  picture  and  write  a  description  of 
it,  selecting  the  points  and  arranging  them  in  the  form  of  an 
outline  before  beginning  to  w^rite. 


Composition. 


103 


Composition  XXXVI. 


PAU-PUK-KEEWIS. 

He  was  dressed  in  shirt  of  doeskin, 
White  and  soft,  and  fringed  with  ermine 
All  inwrought  with  beads  of  wampum ; 
He  was  dressed  in  deerskin  leggings, 
Fringed  with  hedgehog  quills  and  ermine, 
And  in  moccasins  of  buckskin, 
Thick  with  quills  and  beads  embroidered. 
On  his  head  were  plumes  of  swan's  down. 
On  his  heels  were  tails  of  foxes. 
In  one  hand  a  fan  of  feathers, 
And  a  pipe  was  in  the  other. 

Barred  with  streaks  of  red  and  yellow, 
Streaks  of  blue  and  bright  vermilion, 
Shone  the  face  of  Pau-Puk-Keewis. 
From  his  forehead  fell  his  tresses, 
^        Smooth,  and  parted  like  a  woman's. 
Shining  bright  with  oil,  and  plaited, 
Hung  with  braids  of  scented  grasses. 


//.  W.  Lov(jfeIlow, 


104 


How  to  Write. 


Notice  the  points  the  author  has  selected  for  this  descrip- 
tion, and  the  order  in  which  he  has  arranged  them,  as  repre- 


sented in  the  following  outline 


Description 

of  Pau- 
Puk-Keewis 


Topical  Outline, 

Shirt, 


Clothing 


Leggings, 
Moccasins, 


Ornaments 


Of  what  com- 
posed, 
Trimmings. 

Plumes, 

Fan, 

Pipe. 


Appearance 


I 


Face, 
Hair. 


After  reading  the  above  poem,  read  the  transformation  of  it, 
following  the  given  outline  as  you  read  : 

PAU-PUK-KEEWIS. 

Pau-Puh-Keewis  was  dressed  in  the  richest  of 
Indian  clothing.  His  white,  soft  shirt,  made  from 
the  shin  of  the  doe,  was  adorned  with  heads  of 
wam^pum  and  fringed  with  ermine.  His  leggings 
were  of  deer  shin,  and  along  the  outer  side  of  each 
was  a  trimming  of  ermine  and  quills  of  the  hedge- 
hog. His  feet  were  covered  with  huchshin  mocca- 
sins, which  were  thichly  emhroidered  with  head^s 
and  quills,  and  on  the  hachs  of  which  were  fas- 
tened fojoes'  tails.  On  his  head  he  wore  plumes 
made  of  swan's  down.  He  held  in  one  hand  a  fan 
composed  of  feathers,  and  in  the  other  a  pipe. 

The  face  of  Pau- Puh- Keeivis ,  which  was  painted 
with  many  colors  —  red  and  yellow,  blue  and  ver- 
milion—  shone  brightly.  His  long,  smooth,  well- 
oiled  hair  was  parted  in  the  middle  and  plaited , 
and  it  hung  from  his  forehead  with  braids  of 
scented  brasses. 


Composition. 


105 


Composition  XXXVII. 

THE    HOUSE    IN   THE    MEADOW. 

It  stands  in  a  sunny  meadow, 
The  house,  so  mossy 'and  brown, 

Witli  its  cumbrous  old  stone  chimneys, 
And  the  gray  roof  sloping  down.  ■ 

The  trees  fold  their  green  arms  around  it — 

The  trees  a  century  old — 
And  the  winds  go  chanting  through  them, 

And  the  sunbeams  drop  their  gold. 

The  cowslips  spring  in  the  marshes, 

The  roses  bloom  on  the  hill, 
And  beside  the  brook  in  the  pasture 

The  herds  go  feeding  at  will. 

— Louise  Chandler  Moulion, 


Description  of 
**The  House  in 
the  Meadow  " 


Location. 
General  Appear- 
ance 

Immediate  Sur- 
roundings 

Distant  Sur- 
roundings 


Chimneys, 
Roof. 

Trees. 


j  Marshes, 
!  Hill, 
I  Brook, 
I  Pasture. 


Transpose  the  above  poem,  following  the  given  outline  as 
you  write. 


106 


How  to  Write. 


Cofyij^ositiofi  XXXVIII* 


KING    JAMES. 

For  royal  was  his  garb  and  mien, 
His  cloak,  of  crimson  velvet  piled. 
Trimmed  with  the  fur  of  martin  wild; 

His  vest,  of  changeful  satin  sheen, 
The  dazzled  eye  beguiled  ; 

His  gorgeous  collar  hung  adown, 

Wrought  wuth  the  badge  of  Scotland's  crown, 

The  thistle  brave,  of  old  renown ; 
His  trusty  blade,  Toledo  right, 
Descended  from  a  baldric  bright ; 

White  were  his  buskins,  on  the  heel 

His  spurs  inlaid  of  gold  and  steel ; 
His  bonnet,  all  of  crimson  fair, 
Was  buttoned  with  a  ruby  rare : 


Composition. 


107 


The  monarch's  form  was  middle  size ; 
For  feat  of  strength,  or  exercise, 

Shaped  in  proportion  fair ; 
And  hazel  was  his  eagle  eye, 
And  auburn  of  the  darkest  dye, 

His  short  curled  beard  and  hair. 

—  Walter  Scott. 


Description  of 
King  James 


General  Ap- 

' Introduc 

pearance 

tory. 

'  Cloak, 

- 

Vest, 

Collar, 

Dress      - 

Baldric, 

Buskins, 

Spurs, 

Bonnet. 

Form, 

Appearance 

Eye, 

Hair. 

Transform  the  foregoing  poem,  following  the  given  outline  as 
you  write. 

Composition  XXXIX, 

THE    PRISONER    FOR    DEBT. 

Reclining  on  his  strawy  bed, 

His  hand  upholds  his  drooping  head ; 

His  bloodless  cheek  is  seamed  and  hard, 

Unshorn  his  gray,  neglected  beard ; 

And  o'er  his  bony  fingers  flow 

His  long,  disheveled  locks  of  snow. 

— /.  O.  Whittier. 

Transform  the  above  poem,  making  an  outline  before  begin- 
ning to  write. 


108  Hoio  to   Write. 


Composition  XL. 

A    PICTURE. 

"  A  wee  bit  maid,  with  nut-brown  hair 

In  flossy  ringlets  wildly  straying, 
Round  azure  eyes,  where  light  and  shade 

At  hide  and  seek  are  ever  playing. 
The  sunbrown  cheeks  of  roseate  hue, 

The  dimpled  mouth,  with  lips  like  cherries, 
Just  opened,  like  a  fledgling  bird's, 

To  catch  the  luscious,  sweet  blackberries, 

"  Perched  on  the  bank  with  moss  o'ergrown, 

Above  her  head  the  elm-boughs  swaying ; 
One  brown  bare  foot  peeps  from  the  moss, 

The  other  in  the  brooklet's  playing. 
The  gipsy  hat,  with  flowers  crowned. 

Lies  where  the  feathery  ferns  are  blowing, 
Beside  the  shining  bucket  filled 

With  berries  heaped  to  overflowing. 

"  The  babbling  brook,  the  azure  sky, 

The  tangled  fen  of  fern  and  flower, 
The  wee  bit  maid  throned  on  the  bank, 

A  woodland  nymph  within  her  bower, — 
Behold  the  picture  Nature  gave 

And  in  her  sylvan  gallery  hung : 
Oh,  ne'er  a  lovelier  vision  fair 

From  artist's  brain  or  pencil  sprung." 

Transform  the  above  poem,  making  an  outline  before  writing 
Composition  XLI, 

THE     NURSERY     DOLL. 

"  A  very  round  face  and  a  very  flat  nose — 
Simply  a  patch,  of  course,  colored  rose ; 
A  visage  whose  features  are  dents  of  blows ; 


Composition,  1 09 


Eyes  that  stare 

With  a  fixed,  idiotic,  preposterous  glare ; 

Limbs  that  hang  with  an  awkward  air 

From  a  body  decidedly  worse  for  wear. 

Length  of  measurement,  be  it  said, 

Two  feet  nothing  from  heel  to  head. 

A  clumsy,  misshapen  figure  of  w^ood, 

Yet  I've  served  my  turn  as  a  true  doll  should." 

Transform  the  above  poem,  making  an  outline  before  writing. 


Composition  XLII. 

THE     ROOKERY. 

Where  is  the  rookery?     Up  near  the  roof. 

In  a  little  sky-parlor  not  quite  waterproof, 

Where  the  rain  trickles  in  through  the  cracks  and  the  seams, 

And  the  spider-webs  hang  from  the  great  heavy  beams. 

Up  in  the  garret,  shut  off  from  the  rest. 

Is  a  queer  little  room,  just  as  snug  as  a  nest, 

Where  Bertie  may  tinker  and  hammer  and  pound, 

And  where,  when  he's  missing,  he's  sure  to  be  found. 

What's  in  the  rookery?     All  sorts  of  things : 

Broom-handles,  razor-straps,  scissors  and  strings, 

A  sled  and  a  wagon  (both  taken  apart), 

A  horse  that  is  harnessed  and  ready  to  start, 

A  drum  and  a  trumpet,  a  ship  without  sails, 

A  splendid  assortment  of  well-rusted  nails, 

A  bank  that  is  broken,  a  watch  that  won't  go, 

A  mill  that  won't  grind  and  a  flute  that  won't  blow, 

Jackknives  and  marbles  and  ninepins  and  blocks, 

Bottles  and  boxes  and  hammers  and  rocks. 

Pictures  and  puzzles  and  pencils  and  books, 

And  heaps  of  confusion,  but  not  any  rooks. 

— Muz- Muz. 

Transform  the  above  poem,  making  an  outline  before  begin- 
ning to  write. 


110  How  to   Write, 


Composition  XL  ITT, 

THE    PRINTER-BOY    TRAMP. 

His  face  is  full  of  thought  and  dirt, 

His  brow's  a  savage  scowl ; 
He  has  a  wise  expression  on, 

As  solemn  as  an  owl. 
His  hair  has  not  been  combed  to-day : 

That's  easy  understood; 
But  there's  something  in  his  eye,  mother, 

That's  sensible  and  good. 
His  clothes  are  somewhat  patched  and  torn, 

His  hat's  the  worse  for  wear ; 
He  perches  it  upon  his  head 

With  very  little  care  ; 
His  shoes  are  rough,  and  bear  the  marks 

Of  many  a  dusty  mile; 
He  has  a  monster  of  a  foot, 

A  large  and  sun-browned  hand ; 
But  there's  something  in  his  air,  mother, 

Like  one  born  to  command. 

—  Will  Carhton. 

Transform  the  above  poem,  making  an  outline  before  begin- 
ning to  write. 


Composition  that  presents  to  the  mind  of  the  lis- 
tener or  reader  a  picture  of  an  object  or  place  is  de- 
scription. 

1,  Every  object  or  place  is  made  up  of  important  or  essential 
parts  that  are  necessary  to  its  exivstence  as  such  object  or  place. 
These  essential  parts  are  subject  to  elaboration  or  are  affected 
by  incidental  surroundings.  Thus  many  minor  points  may  be 
introduced  that  are  not  necessary  to  the  existence  of  the  object 
or  place.     The  writer  must  be  able  to  see  and  appreciate  the 


Composition.  Ill 


main  or  principal  features  of  the  object  or  place,  independent 
of  their  elaborations  and  surroundings,  before  he  can  represent 
such  object  or  place.  Hence  arises  the  first  law  of  composi- 
tion, the  Law  of  Selection: 

Law:    Select   the    principal    parts   or   features   of  the 
object  to  be  described. 

If,  in  the  description  of  the  picture  on  page  99,  the  writer 
had  made  too  prominent  the  rock  over  which  the  smaller  girl 
leans,  or  had  made  the  basket  which  the  larger  girl  holds  one 
of  the  main  features  of  the  picture,  the  Law  of  Selection  would 
have  been  violated;  for  these  points  are  not  essential  to  the  ex- 
istence of  this  picture  as  such  picture. 


2.  Of  course  it  is  desirable  that  all  of  the  principal  features 
that  compose  the  object  or  place  be  presented,  else  the  object 
will  not  be  made  complete.  It  would  be  some  other  object,  or 
only  part  of  the  object,  and  this  would  be  something  else  than 
what  was  intended  to  be  described.  Hence  arises  another 
great  law  of  composition,  the  Law  of  Completeness: 

Lata:  Select  for  description  every  feature  or  part  the 
omission  of  which  would  leave  but  a  part  of  the 
object  intended  to  be  described. 

If,  in  the  description  given  on  page  99,  the  writer  had 
failed  to  mention  the  boy  or  the  water,  the  Law  of  Complete- 
ness would  have  been  violated,  for  without  these  parts  the 
picture  is  not  a  complete  one. 

If  Mr.  Longfellow,  in  his  description  of  Pau-Puk-Kee- 
wis  on  page  103,  had  omitted  the  description  of  the  feet,  or 
had  failed  to  describe  the  face  of  the  Indian,  he  would  have 


112  •  How  to  Write. 


violated  the  Law  of  Completeness,  for  he  would  have  de- 
scribed but  a  part  of  the  object  he  set  out  to  describe,  and 
would  have  left  only  an  imperfect  picture  on  the  mind  of  the 
reader.  • 

Notice  in  the  description  of  Pau-Puk-Keewis  by  Longfel- 
low, and  also  in  the  description  of  King  James  by  Scott  on 
page  106,  how  perfectly  this  Law  of  Completeness  has  been 
obe^-ed. 

3.  The  principal  parts  of  an  object,  thrown  promiscuously 
together,  do  not  constitute  the  object.  The  parts  must  be  put 
together  in  their  proper  relations,  or  the  object  will  be  not 
made.  It  must  not  be  expected  that  the  listener  or  reader 
is  able  to  arrange  the  parts  after  hearing  them  described. 
The  writer  or  speaker,  while  describing  them,  must  so  ar- 
range the  parts  that  the  object  described  will  grow  in  the 
mind  of  the  listener  or  reader.  Hence  arises  another  great 
law  of  composition,  the  Law  of  Metliod: 

Law:  Present  the  selected  points  in  such  order  that 
the  reader  or  listener  may  -with  the  least  effort 
form  a  correct  picture  of  the  object  described 
and  retain  the  same  in  mind. 

No  one  method  can  be  given.  Each  writer  can  best  follow 
his  own  method.  But  it  is  desirable  that  a  method  should 
be  decided  upon,  and  that  the  chosen  method  be  adhered  to 
throughout. 

4.  A  distorted  or  one-sided  w^ritten  picture  is  as  objection- 
able as  a  distorted  or  one-sided  picture  made  with  pencil  or 
brush.  A  description  of  a  picture  is  not  symmetrical  if  too - 
much  attention  is  paid  to  any  one  selected  point  in  propor- 
tion to  its  value  in  the  picture.  Hence  arises  another  great 
law  of  composition,  the  Law  of  Symmetry: 


CoTtiposition.  113 


Law:  Elaborate  the  selected  points  proportionally. 

If  the  writer,  in  describing  the  picture  on  page  99,  had 
described  in  full  the  dress  of  one  of  the  children  and  had 
failed  to  give  due  attention  to  the  dress  of  the  other  two, 
the  Law  "of  Symmetry  would  have  been  violated,  for  the 
picture  would  then  have  been  one-sided. 

If  Scott,  in  his  description  of  King  James  on  page  106, 
after  describing  the  cloak  as  fully  as  he  has,  had  simply  men- 
tioned the  other  articles  of  dress,  giving  us  no  description  of 
the  same,  he  would  have  violated  the  Law  of  Symmetry,  and 
his  description  would  have  been  a  distorted  one. 


^.  It  must  first  be  decided  what  the  picture  is  to  represent — 
that  is,  a  subject  is  to  be  chosen — and  it  must  be  remembered 
at  every  step  that  the  ©bject  ®f  the  comp@?rition  is  to  make  that 
picture.  Hence  arises  the  supreme  law  of  composition,  the 
Law  of  Unity: 

Law:   In  executing  the  various   la-ws  of  composition, 
make  them  subservient  to  the  law  of  unity. 

If,  in  the  description  of  the  picture  on  page  99,  the  writer 
had  left  a  distinct  impression  only  of  the  dress  of  the  children, 
the  Law  of  Unity  would  have  been  violated — that  is,  the  sub- 
ject would  have  been  changed. 

If  Scott,  in  his  description  of  King  James  on  page  106,  had 
left  a  distinct  picture  only  of  the  cloak  or  of  the  collar,  the 
Law  of  Unity  would  have  been  violated,  for  the  subject 
would  then  have  been  "A  Cloak"  or"^ A  Collar,"  and  not 
'  King  James." 
8 


14 


How  to  Write, 


Composition  XLl  V. 


'j^^-^ 


HARVESTING. 


This  picture  represents  a  harvest -scene. 

In  the  left  foreground  is  a  large  wagon  on  which 


Composition.  115 


several  men  are  loading  the  bundles  of  grain. 
They  are  apparently  finishing  the  harvest,  for  be- 
hind them,  and  beyond  a  clump  of  trees,  can  be 
seen  the  bare  field,  while  before  them  stands 
but  one  shock.  A  short  distance  in  front  of  the 
wagon  are  a  number  of  children  watching  the 
men  at  worh.  They  have  probably  brought  cool- 
ing drinks,  in  the  jugs  which  are  near  them,  to  the 
tired  workmen.  Kear  by  sits  the  farm-dog.  He 
too  seems  to  be  interested  in  the  work,  as  he 
^"tlo^sely  watches  the  impatient  horses,  ^i  the  righir 
-Hjf^oreground  can  be  seen  the  road  leading  up  to  the 
capacious  barn  ivhich  stands  ready  to  receive  the 
grain.  Beyond  the  barn  is  the  old  farmhouse, 
surrounded  with  trees  and  grass-plots.  In  the  cen- 
tre background,  through  ccn  opening  in  the  trees, 
may  be  seen  in  the  far  distance  the  village  church, 
and  beyond  this,  low  hills. 

TJie  whole  scene  is  beautiful,  and  suggests  at 
once  the  hiirdships  and  the  pleasures  and  coinforts 
of  farm-life. 

Note  the  following  points  that  have  been  selected  for  this 
description,  and  the  order  in  which  they  have  been  arranged : 

1.  Subject  of  the  picture. 

2.  Wagon  and  workmen  in  the  left  foreground. 

3.  What  the  men  are  doing.    Reasons  for  the  same. 

4.  Minor  objects  in  the  left  foreground. 

5.  Objects  in  the  right  foreground. 

6.  Description  of  the  house. 

7.  Objects  of  interest  in  the  centre  background. 

8.  Conclusion. 


116 


How  to  Write. 


Composition  XLV. 


Composition. 


117 


Evening  . 


Intko- 

DUCTIOjS" 


Name  of  picture. 


Discus- 
sion 


CoN- 

OLUSIOX 


Central 
Objects 


Objects 
at  the 

Left 


Objects 
at  the 
Right 


Foreground   |  River. 
Lake, 


Background 


Foreground 


Sun. 


Mill, 
Village. 


Background  |  Hills. 


Foreground 


Man  and 

boy, 
Pasture. 


Background  {  Hills, 
General  effect. 


An  outline  for  the  picture  on  the  preceding  page  is  suggested 
above.  Write  a  description  of  the  picture,  following  this  out- 
line or  an  outline  made  by  yourself 


On  the  following  pages  are  given  a  number  of  subjects  foi 
compositions.  Study  these  subjects  carefully  before  writing, 
securing  the  natural  object  (animal  or  plant)  when  it  is  pos-' 
sible  to  do  so.  Remember  that  a  plan  (an  outline)  of  com- 
position is  the  first  thing  to  be  made. 


118 


How  to  Write. 


Composition  XLVI. 


Composition. 


119 


Composition  XLVII. 


120 


How  to  Write, 


Composition'  XL  VIII. 


Composition  XLIX, 


Composition, 


121 


Composition,  lu 


122 


How  to  Write. 


Composition  LI. 


Composition  LII. 


Composition. 


123 


Composition  LIII, 


THE    ROOSTER. 


Composition  LIV. 


THE    TERN. 


Cofnposition  XF. 


THE    GUINEA-HEN 


124 


How  to  Write. 


Cotnposition  LVI. 


CORN. 

(Data  kot  in  Ordee.) 

Annual;  fibrous  roots;  stem,  closed  at  the  joints, 
smooth,  glossy,  endogenous ;  leaves,  linear-laQceolate, 
alternate,  acute,  entire,  sheathing,  sheaths  split  on  the 
opposite  side  of  the  stem ;  ligules  ;  flowers  in  spikes. 

Write  a  description  of  "Corn." 


Composition. 


125 


Composition  LVII. 

(Data  not  in  Order.) 

Vine ;  annual ;  roots, 
fibrous;  leaves,  alter- 
nate, radiate-veined, 
lobed,  acute,  entire, 
heart-shaped ;  stem, 
hairy,  herbaceous,  run- 
ning, climbing,  ten- 
drils; flowers,  yellow, 
polypetalous,  mono- 
i^epalous,    cleft. 


THE  CUCUMBER. 


Comjyosition  LVIII. 


THE  STRAWBERRY. 


(Data  not  in  Order.) 
Stemless  herbs;    runners;    white,  clustered  flowers; 
leaves,  compound,  radical,  obovate-wedge-form,  coarse- 
ly serrate ;  stipules  and  petiole,  hairy ;  polypetalous  ; 
monosepalous. 


126  How  to  Write. 


Composition  LIX. 

LORD    MARMION. 

Well  by  his  visage  you  might  know 
He  was  a  stalworth  knight,  and  keen, 
And  had  in  many  a  battle  been. 
The  scar  on  .his  brown  cheek  revealed 
A  token  true  of  Bosworth  field ; 
His  eyebrow  dark,  and  eye  of  fire, 
Showed  spirit  proud,  and  prompt  to  ire ; 
Yet  lines  of  thought  upon  his  cheek 
Did  deep  design  and  counsel  speak. 
His  forehead,  by  his  casque  worn  bare, 
His  thick  mustache  and  curly  hair. 
Coal-black,  and  grizzled  here  and  there — 

But  more  through  toil  than  age — 
His  square-turned  joints,  and  strength  of  limb, 
Showed  him  no  carpet-knight  so  trim, 
But  in  close  fight  a  champion  grim, 

In  camps  a  leader  sage. 

Well  was  he  armed  from  head  to  heel, 

In  mail  and  plate  of  Milan  steel ; 

But  his  strong  helm,  of  mighty  cost, 

Was  all  with  burnished  gold  embossed ; 

Amid  the  plumage  of  the  crest, 

A  falcon  hovered  on  her  nest. 

With  wings  outspread  and  forward  breast ; 

E'en  such  a  falcon,  on  his  shield, 

Soared  sable  in  an  azure  field ; 

The  golden  legend  bore  aright. 

Who  checks  at  me  to  death  is  dight." 

Scott 


Composition.  127 


Composition  XX. 

THE    VILLAGE    OF    GRAND    PRE. 

In  the  Acadian  land,  on  the  shores  of  the  basin  of  Minas, 
Distant,  secluded,  still,  the  little  village  of  Grand  Pre 
Lay  in  the  fruitful  valley.    Vast  meadows  stretched  to  the 

eastward, 
Giving  the  village  its  name,  and  pasture  to  flocks  without 

number. 
Dikes,  that  the  hands  of  the  farmers  had  raised  with  labor 

incessant. 
Shut  out  the  turbulent  tides;  but  at  stated  seasons  the 

floodgates 
Opened,  and  welcomed  the  sea  to  wander  at  will  o'er  the 

meadows. 
West  and  south  there  were  fields  of  flax,  and  orchards  and 

cornfields 
Spreading  afar  and  unfenced  o'er  the  plain ;  and  away  to 

the  northward 
Blomidon  rose,  and  the  forests  old,  and  aloft  on  the  moun- 
tains 
Sea-fogs  pitched  their  tents,  and  mists  from  the  mighty 

Atlantic 
Looked  on  the  happy  valley,  but  ne'er  from  their  stations 

descended. 
There,  in  the  midst  of  its  farms,  reposed  the  Acadian  vil- 
lage. 
Strongly  built  were  the  houses,  with  frames  of  oak  and 

of  hemlock, 
Such  as  the  peasants  of  Normandy  built  in  the  reign  of 

the  Henries. 
Thatched   were    the    roofs,   with   dormer-windows;    and 

gables,  projecting 
Over   the   basement   below,   protected   and    shaded   the 

doorway. 

— H.  W.  Longfellow. 


NARRATION. 


Coni2>osition  LXI. 

THE    GRATEFUL    LAWYER. 

Mr.  Lincoln's  early  athletic  struggle  with  Jack  Arm- 
strong, the  representative  man  of  the  "  Clary's  Grove  Boys/' 
will  be  remembered.  From  the  moment  of  this  struggle, 
which  Jack  agreed  to  call  *'  a  drawn  battle,"  in  consequence 
of  his  own  foul  play,  they  became  strong  friends.  Jack 
would  fight  for  Mr.  Lincoln  at  any  time,  and  would  never 
hear  him  spoken  against.  Indeed,  there  were  times  when 
young  Lincoln  made  Jack's  cabin  his  home,  and  here  Mrs. 
Armstrong,  a  most  womanly  person,  learned  to  respect  the 
rising  man. 

There  was  no  service  to  which  she  did  not  make  her 
guest  abundantly  welcome,  and  he  never  ceased  to  feel  the 
tenderest  gratitude  for  her  kindness.  At  length  her  hus- 
band died,  and  she  became  dependent  upon  her  sons.  The 
oldest  of  these,  while  in  attendance  upon  a  camp-meeting, 
found  himself  involved  in  a  mdee  which  resulted  in  the 
death  of  a  young  man,  and  young  Armstrong  was  charged 
by  one  of  his  associates  with  striking  the  fatal  blow.  He 
was  arrested,  examined  and  imprisoned  to  await  his  trial. 
The  public  mind  was  in  a  blaze  of  excitement,  and  inter- 
ested parties  fed  the  flame. 

Mr.  Lincoln  knew  nothing  of  the  merits  of  this  case ;  that 
is  certain.  He  only  knew  that  his  old  friend  Mrs.  Arm- 
strong was  in  sore  trouble ;  and  he  sat  down  at  once  and  vol- 

128 


Composition,  129 

unteered  by  letter  to  defend  her  son.  His  first  act  was  to 
procure  the  postponement  and  a  change  of  the  place  of  the 
trial.  There  was  too  much  fever  in  the  minds  of  the  imme- 
diate public  to  permit  of  fair  treatment.  When  the  trial  came 
on,  the  case  looked  very  hopeless  to  all  but  Mr.  Lincoln,  who 
had  assured  himself  that  the  young  man  was  not  guilty. 

The  evidence  on  behalf  of  the  State  being  all  in,  and 
looking  like  a  solid  and  consistent  mass  of  testimony  against 
the  prisoner,  Mr.  Lincoln  undertook  the  task  of  analyzing 
and  destroying  it,  which  he  did  in  a  manner  that  surprised 
every  one.  The  principal  witness  testified  that  by  the  aid 
of  the  brightly-shining  moon  he  saw  the  prisoner  inflict  the 
death-blow  with  a  slung-shot.  Mr.  Lincoln  proved  by  the 
almanac  that  there  was  no  moon  shining  at  the  time.  The 
mass  of  testimony  against  the  prisoner  melted  away,'  until 
"Not  guilty"  was  the  verdict  of  every  man  present  in  the 
crowded  court-room. 

There  is,  of  course,  no  record  of  the  plea  made  on  this 
occasion,  but  it  is  remembered  as  one  in  which  Mr.  Lincoln 
made  an  appeal  to  the  sympathies  of  the  jury  which  quite 
surpassed  his  usual  efforts  of  the  kind,  and  melted  all  to 
tears.  The  jury  were  out  but  half  an  hour,  when  they  re- 
turned with  their  verdict  of  "Not  guilty."  The  widow  fainted 
in  the  arms  of  her  son,  who  divided  his  attention  between  his 
services  to  her  and  his  thanks  to  his  deliverer.  And  thus  the 
kind  woman  who  cared  for  the  poor  young  man,  and  showed 
herself  a  mother  to  him  in  his  need,  received  as  her  reward, 
from  the  hand  of  her  grateful  beneficiary,  the  life  of  a  son, 
saved  from  a  cruel  conspiracy. — J.  G.  Holland. 

Reproduce  the  foregoing  story  in  your  own  language,  fol- 
lowing the  outline  given  below. 

1.  Events  that  led  to  an  acquaintance  with  the 
Armstrongs. 

2.  Mr.  Lincoln's  stay  with  the  Arnastrongs. 


130 


How  to  Write. 


3.  Death  of  Mr.  Armstrong. 

4.  Young  Armstrong  charged  with  the  death  of  an 
associate. 

5.  Mr.  Lincoln's  action  in  the  case. 

6.  The  trial  and  result. 

7.  Gratitude  of  the  Armstrongs. 


Composition  LXII, 

THE    HUNTER    AND     THE     LION. 

A  h/wnter,  while  crossing  a  field  on  his  way  home, 
saw  a  large  lion  close  by  watching  him.  The  hun- 
ter, having  exhausted  his  supply  of  bullets,  and 
knowing  he  could  not  esca.pe  the  lion  by  running. 


loohed  about  for  a  safe  hiding-place.  But  the 
field  was  bare  and  offei^ed  no  protecting  retreat, 
and  the  hunter  soon  saw  that  but  one  chance  re- 
mained—  that  of  deceiving  the  lion.     So  he  crept 


Composition. 


131 


along  the  ledge  of  a  high  cliff  and  hid  himself 
behind  a  lar^e   roeh.     He   then  took  his   hat  and 


coat  and  fixed  them  on  his  gun,  so  as  to  mahe 
them  looh  lilce  a  man.  As  soon  as  the  hunter  saw 
the  lion  approaching  he  held  the  gun,  thus  dressed, 


above  the  rock.  The  lion  made  a  spring  at  what 
he  supposed  to  be  the  man,  leaped  over  the  cliff 
where  the  hunter  ivas  concealed,  and  was  dashed 
in  pieces  on  the  j^ocks  below.     The  hunter  descended 


132 


How  to   Write. 


and  recovered  his  hab  and  coat,  hut  found  his  gun 
shattered   in  pieces.     As   he   loohed  at  the  lifeless 


form  of  the  lion  he  was  filled  with  thank fuhiess 
for  his  own  deliverance. 


The  Hunter 
AND  Lion 


(  Meeting  of  hunter  and  lion, 
Hunter's  search  for  a  place  of  safety, 
Secretion  of  hunter, 
Arrangement  of  gun, 
Approach  of  lion, 
Death  of  lion, 
Recovery  of  hat  and  coat, 
Thankfulness  of  hunter. 


Write  a  reproduction  of  the  foregoing  story,  referring  to 
the  pictures  while  writing.  In  writing  this  reproduction,  you 
will  be  aided  by  noting  the  principal  points  that  have  been 
selected  and  the  order  in  which  they  have  been  arranged,  as 
shown  in  the  outline. 


Compos  ltio7i. 


133 


Composition  LXIII. 

Write  an  account  of  the  events  of  a  day  spent  witli  your 
cousin,  as  suggested  by  the  following  pictures : 


TAKING  UNCLE  TO  SEE  THE  WELL  WE  DUG. 


FEEDING   THE    CHICKENS. 


134 


How  to  Write. 


TAKING    A    RIDE. 


FISHING, 


Composition. 


35 


GOING     HOME. 


MAKING    WORDS. 


^% 


lot 


How  to   Write. 


Composition  LXIV, 


Write  an  account  of  the  events  of  a  day  spent  with  Cousin 
.  as  suggested  by  the  following  pictures : 


WE    GO  TO  THE    FIELD    TO    FLY  THE    KITE. 


Composition. 


137 


WE    GO    TO    THE    RIVER 
TO    FISH. 


WE    FIND    A    BOAT. 


138 


How  to  Write. 


WE    GO    TO    THE    PASTURE,    CATCH    THE    PONIES 
AND    TAKE    A    RIDE. 


Many  times  an  introductory  remark,  calling  the  attention 
of  the  listener  or  reader  in  some  pleasant  or  interesting  way 
to  what  yo\i  are  going  to  say,  adds  embellishment  to  the  story 
and  helps  to  make  it  symmetrical. 

A  general  remark  in  conclusion,  giving  the  purpose  of  the 
story  or  naming  the  points  of  the  lesson  taught  by  the  story, 
often  adds  force  to  what  is  said,  and  at  the  same  time  makes 
the  composition  more  symmetrical. 

Study  carefully  the  two  following  stories,  making  to  each 
an  "Introduction"  and  a  "Conclusion,"  as  shown  by  the 
pictures. 


Composition. 


139 


Composition  LXV. 

THE    NARROW    ESCAPE. 


140 


How  to  Write. 


^^^^-^.S^ 


Composition, 


141 


iNTRODUCTIOlSr     {  The  reading  of  the  story. 


The 
Narrow 
Escape 


Discussion 


Occupation  of  the  boy, 

Accident, 

Rescue  from  the  stream. 

Restoration  to  life, 

Joy  of  the  dog. 


Conclusion         {  Advice  given  to  the  boys. 


Composition  LXVl. 

FRANK'S    FIRST   ATTEMPT   AT    SKATING. 


142 


How  to  Write. 


k      t< 


^\^ 


Composition. 


143 


Frank's  First 

Attempt  at 

Skating. 


'  Introduc- 
tion 

Discus- 
sion 

Conclu- 
sion 


r  The  winter's  scene. 

[  Arrival  at  the  river, 
First  trial  on  the  skates, 
The  fall, 
The  return  home. 


1      i 


Account  given  of  the  skat- 
ing. 


Stories  are  embellished  by  some  description  of  persons  and 
places.  This  embellishment  helps  to  please  the  listener,  and  it 
fastens  his  attention.  By  reading  the  description  of  a  person, 
the  reader  forms  an  acquaintance  with  such  person  and  be- 
comes solicitous  for  his  welfare — is  made  happy  by  his  success 
or  is  grieved  by  his  failure.  A  story  that  does  not  give  a  pic- 
ture of  the  actors  can  scarcely  be  interesting,  for  it  lacks  that 
element  which  excites  the  sympathy  of  the  reader. 

Much  description,  however,  in  a  single  place,  is  objectionable. 
A  story  must  move  rapidly  from  scene  to  scene — from  one  time 
to  another.  If  the  reader  is  detained  too  long  for  a  descrip- 
tion, the  narrative  stops  movement,  the  attention  of  the  reader 


144  How  to  Write, 


is  turned  from  the  thread  of  the  story,  and  unity  is  violated. 
It  is  therefore  necessary  that  the  writer  study  his  subject 
closely,  and  determine  beforehand  how  much  description  he 
will  introduce  into  his  story. 

The  description  of  Pau-Puk-Keewis  is  one  of  many  that 
occur  in  that  interesting  story  of  Mr.  Longfellow's, //zazmiAa. 
It  is  seldom,  however,  that  so  full  a  description  of  a  person  is 
given  in  any  one  place  as  that  of  Pau-Puk-Keewis. 

The  successful  writers  of  stories  seem  to  want  their  readers 
to  have  frequent  interviews  with  their  characters  personally, 
and  for  this  purpose  they  present  them  many  times,  giving  at 
each  presentation  only  a  partial  description,  but  giving  at  each 
time  something  that  remains  with,  and  becomes  a  part  of,  the 
character,  thus  intensifying  the  reader's  interest  and  sympa- 
thy. In  Dickens,  Scott,  Thackeray,  Hawthorne,  and  others 
whose  names  are  to  live  as  "story-tellers,"  full  and  minute 
descriptions  of  persons  and  places  are  given;  but  these  de- 
scriptions are  divided  and  scattered,  appearing  in  places 
where  it  is  desirable  to  renew  and  increase  the  interest  of 
the  reader  in  such  person  or  place. 

Read  the  following  poem,  carefully  noting  the  great  amount 
of  description  with  which  it  is  embellished  and  the  interest 
that  this  description  adds  to  the  narration. 

Composition  LXVII, 

THE    BUTTERFLY     BALL. 

"  The  butterflies  all  once  gave  a  grand  ball 
Where  the  roses  were  sw^eet,  and  the  lilies  grew  tall. 
From  the  north,  and  the  south,  and  the  east,  and  the  west. 
They  gathered  together,  dressed  all  in  their  best. 
Here,  with  her  mamma,  came  charming  Miss  Flutter, 
And  next  came  Miss  Fleetwing,  as  yellow  as  butter; 
Then  Sir  Dandy  Brownspots,  all  bows  and  all  laughter, 
And  young  Mr.  Rubynose  following  after, 


Composition. 


145 


And  plenty  of  others,  of  every  hue — 

Spotted  and  striped,  brown,  red,  white  and  blue. 

The  music  they  had  was  as  fine  as  could  be, 

For  the  birds  made  a  chorus  high  up  in  each  tree. 

And  along  came  the  locust,  bringing  his  drum, 

And  a  great  golden  bee,  striking  in  with  his  hum, 

And  every  mosquito  that  came  brought  a  fife. 

While  with  grasshoppers'  fiddles  the  whole  air  was  rife. 

And  each  flower,  glad  in  the  mirth  to  take  part, 

For  a  feast  gave  the  sweetness  that  lay  at  its  heart. 

The  ball  was  kept  up  till  the  close  of  the  day, 

Till  the  sun,  grown  tired,  at  last  slipped  away; 

When  the  great  moon  shone  out,  with  its  calm,  pearly  light, 

The  weary  young  butterflies  whispered,  '  Good-night,' 

And,  as  glowworm  and  firefly  lighted  them  home, 

They  agreed,  one  and  all,  they  were  glad  they  had  come.'* 


The  But' 
terfly 
Ball. 


Introduc- 
tion 


r  (Very  short  in  this  case.) 

Where  held     {  ^^^ip"""  "f 
(      place. 

Participatora  |  I)esc"ption  of 
(       few. 


Discus- 
sion 


Ml 


Feast 


{By  whom  fur- 
nished. 


f  Byw 
1      ed 


horn  serv- 


Close  of  ball, 
^  Return  home. 


Conclu- 
sion 


r  Happi 


ness  of  butterflies. 


Transform  the  foregoing  poem,  following  the  given  outline 
as  you  write. 
10 


*46  How  to  Write. 


Composition  JLXVIII. 

LILY'S    BALL. 

Lily  gave  a  party, 

And  her  little  playmates  all, 
Gayly  drest,  came  in  their  best, 

To  dance  at  Lily's  ball. 

Little  Quaker  Primrose 

Sat  and  never  stirred, 
And,  except  in  whispers, 

Never  spoke  a  word. 

Snowdrop  nearly  fainted 

Because  the  room  was  hot, 
And  went  away  before  the  rest, 

"With  sweet  Forget-me-not. 

Pansy  danced  with  Daffodil, 

Kose  with  Violet ; 
Silly  Daisy  fell  in  love 

With  pretty  Mignonette. 

But,  when  they  danced  the  country-dance. 

One  could  scarcely  tell 
"Which  of  these  two  danced  it  best — 

Cowslip  or  Heatherbell. 

Between  the  dances,  when  they  all 

Were  seated  in  their  places, 
I  thought  I'd  never  seen  before 

So  many  pretty  faces. 

But,  of  all  the  pretty  maidens 
I  saw  at  Lily's  ball. 


Composition. 


147 


Darling  Lily  was  to  me 
The  sweetest  of  them  all. 

And  when  the  dance  was  over, 
They  went  down  stairs  to  sup ; 

And  each  had  a  taste  of  honey-cake, 
With  dew  in  a  buttercup. 

And  all  were  dressed  to  go  away 

Before  the  set  of  sun  ; 
And  Lily  said,  "  Good-bye,"  and  gave 

A  kiss  to  every  one. 


And  before  the  moon  or  a  single  star 

Was  shining  overhead, 
Lily  and  all  her  little  friends 

Were  fast  asleep  in  bed. 

— Fun  and  Earned. 


Lily's  Ball 


Introduc- 
tion 


Discus- 
sion 


Conclu- 
sion 


I  By  whom  the  party  was  given. 

-,,  ,         f  Description  of 

The  guests       i  ^  ^ 

°  I      a  few. 

The  dancing    {  Description. 

Occupation  between  dances. 

The  supper      {  Where  serve-i 

Close  of  ball     I  Time. 


Transform  the  foregoing  poem,  following  the  given  outline 
as  you  write. 


148  How  to  Write. 


Composition  LXIX. 

THE    RAT   AND    THE    OYSTER. 

"  A  foolish  young  rat 
Fed  on  wheat  and  grew  fat 

In  the  barn-hole  in  which  he  was  born : 
No  danger  he  knew ; 
So,  conceited  he  grew, 

And  he  treated  his  mother  with  scorn. 

" '  I'll  go  off  to  sea 

For  adventures,'  said  he ; 

*  Fields  and  plains  I  begin  to  detest ; 
'Tis  pleasant  to  roam ; 
Timid  rats  stay  at  home  ; 

Rambling  rats  are  the  bravest  and  best.' 

**  At  once  he  ran  out, 
And  he  looked  all  about, 

Viewing  all  that  he  saw  with  surprise ; 
A  very  small  brook 
For  the  sea  he  mistook  ; 

As  the  Alps,  molehills  seemed^to  his  eyes. 

•'  Well,  onward  ran  he 
Till  he  came  to  the  sea, 

Where  some  oysters  were  cast  on  the  shore. 
One  large  one  he  spied. 
With  its  shell  open  wide: 

He  had  not  seen  an  oyster  before. 

"Its  flesh,  plump  and  white. 
Filled  the  rat  with  delight ; 

And  its  smell — oh,  how  tempting  was  that  1 
'What  delicate  meat !' 
He  exclaimed  ;  *  what  a  treat ! 
Surely  I  am  a  fortunate  rat  1' 


Composition. 


149 


His  head,  sad  to  tell, 
He  thrust  into  the  shell, 

When  the  oyster,  with  fear  out  of  breath, 
Said,  '  This  is  not  nice  !' 
Closed  the  shell  in  a  trice, 

And  it  crushed  the  intruder  to  death." 


The  Rat 
and  the 
Oyster 


Introduc- 
tion 


Discus- 
sion 


Conclu- 
sion 


{Home 
Decisis 


of  rat, 
on  of  rat  to  travel. 


-r  f  Obiects  seen  on 

J  ourney    i         , 

(       the  way. 


Arrival  at  the  sea. 

Meeting   with     ) 
the  oyster        j 

.  Death  of  the  rat. 


Description. 


\  (Wanting. 


Transform  the  foregoing  poem,  following  the  given  outline 
as  you  write. 


Composition  LXX. 

THE   OWL   AND    THE    PUSSY-CAT. 

The  Owl  and  the  Pussy-Cat  went  to  sea 

In  a  beautiful  pea-green  boat ; 
They  took  some  honey  and  plenty  of  money 

Wrapped  up  in  a  five-pound  note. 
The  Owl  looked  up  to  the  moon  above, 

And  sang  to  a  small  guitar : 
0  lovely  Pussy  !     0  Pussy  my  love  ! 

What  a  beautiful  Pussy  you  are, 
You  are, 

What  a  beautiful  Pussy  you  are !" 


150  How  to  Write. 


Pussy  said  to  the  Owl,  "  You  elegant  fowl ! 

How  wonderful  sweet  you  sing ! 
Oh,  let  us  be  married — too  long  we  have  tarried — 

But  what  shall  we  do  for  a  ring?" 
They  sailed  away  for  a  year  and  a  day 

To  the  land  where  the  Bong  tree  grows. 
And  there  in  a  wood  a  little  pig  stood, 

With  a  ring  in  the  end  of  his  nose, 
His  nose. 

With  a  ring  m  the  end  of  his  nose. 

"  Dear  Pig,  are  you  willing  to  sell  for  one  shilling 
Your  ring?"     Said  the  Piggy,  "  I  will." 
So  they  took  it  away,  and  were  married  next  day 

By  the  turkey  who  lives  on  the  hill. 
They  dined  ujDon  mince  and  slices  of  quince, 

Which  they  ate  with  a  runcible  spoon, 

And  hand  in  hand  on  the  edge  of  the  sand 

They  danced  by  the  light  of  the  moon, 

The  moon, 
They  danced  by  the  light  of  the  moon. 

— Edward  Lear. 

Transform  the  foregoing  poem,  making  an  outline  before  be- 
ginning to  write. 

Composition  LXXI. 

THE    MISER'S    VALENTINE. 

A  poor-rich  miser,  all  forlorn, 
With  visage  grim  and  garments  worn, 
Once  fell  in  love — though,  strange  to  say, 
All  with  a  maiden  fair  and  gay. 
"  What  shall  I  do  to  gain  her  love?" 
Mused  he.     "  By  silver  stars  above, 
I  have  it !     If  I  never  dine, 
I'll  send  the  girl  a  valentine!" 
And  so  from  out  his  bag  of  gold 
Ten  shining  dollars  soon  were  told. 


Composition. 


151 


The  silver  beauties  olose  he  scanned, 

And  held  them  fondly  in  his  hand. 

He  counted  them  thrice  o'er  and  o'er, 

Then  tossed  one  back  among  his  store : 

'  I  certainly  can  buy  with  nine 

A  charming,  rosy  valentine." 

Before  he  reached  the  garden-gate 

He  had  reSonred  to  spend  but  eight, 

Then  seven,  then  six,  then  five,  then  four. 

His  hand  was  on  the  shopman's  door : 

Four  dollars !     What  a  monstrous  sum 

To  spend  !     Enough  to  strike  me  dumb ! 

To  make  it  two  I  do  incline : 

No,  one  shall  buy  this  valentine. 

A  dollar !     Just  one  hundred  cents  !'* 

He  sighed.     "  A  waste  of  useful  pence. 

A  penny  valentine  I'll  send." 

This  much  the  miser  did  expend. 

But  e'er  his  journey  home  was  through 

He  sold  the  penny  sheet  for  two ! 

Tempt  him  whichever  way  you  will, 

A  miser  is  a  miser  still. 

—Mrs.  M.  A.  Kidder. 


'  Introduc-  ' 

TION 

I"  (Wanting.) 

The  Mi- 
ser's Val- 
entine 

Discus- 
sion 

'  Love  of  the  miser, 
Decision  to  send  valentine. 
Amount  selected  to  be  expended. 
Amount  expended. 
Sale  of  valentine. 

Conclu- 
sion 

'  Moral. 

Transform  the  foregoing  poem,  following  the  given  outline 
as  you  write. 


152  How  to  Write. 


Coinposition  LXXII, 

Transform  the  following  poem.     It  is  a  fine  example  of  nar- 
ration embellished  with  description. 

THE    WATER-QURE. 

There  was  a  little  Lizzie 
Who  was  never  very  busy, 

Neither  very  hard  to  please ; 
She  was  not  inclined  to  labor 
For  herself  or  for  her  neighbor, 

For  she  dearly  loved  her  ease. 
There  was  nothing  you  could  tell  her 
That  would  rouse  her  or  compel  her 

At  the  proper  time  to  rise  : 
If  you  didn't  go  and  shake  her, 
All  your  calling  wouldn't  make  her 

Open  wide  those  sleepy  eyes. 
So  her  little  sister  Kittie, 
Very  mischievous  and  witty, 

Thought  she'd  try  the  water-cure. 
She  was  careful  not  to  mention 
To  her  mother  her  intention, 

Till  she'd  made  the  matter  sure. 
But  while  Liz  was  soundly  sleeping 
Kittie  came  on  tiptoe  creeping 

To  the  comfortable  bed  ; 
And  poor  Lizzie,  in  her  dreaming, 
Thought  Niagara  was  streaming 

Over  her  unlucky  head. 
Up  she  jumped  and  choked  and  spluttered, 
And  the  queerest  noises  uttered 

Through  her  mouth  and  through  her  nose, 
As  the  water,  like  a  river,  overflowed  her, 

Made  her  shiver  from  her  eyelids  to  her  toes. 


Composition.  153 


Then  the  laughing  little  Kittie, 
Who  was  wise  as  well  as  witty, 

Though  she  quite  enjoyed  the  play, 
Thought  it  safe  for  her  to  scamper 
(Seeing  things  were  getting  damper) 

Out  of  lazy  Lizzie's  way. 
So  she  dodged  the  little  matter 
Of  a  comb  and  brush  flung  at  her. 

And,  with  merry  mischief,  ran 
To  report  that  lazy  Lizzie 
Was  already  up  and  busy. 

Thanks  to  her  successfiil  plan. 
Our  Miss  Lizzie  thinks  at  present 
It's  decidedly  more  pleasant 

Early  rising  to  endure, 
Than  to  undergo  the  joking, 
To  say  nothing  of  the  soaking 

Of  another  water-cure. 

^Mary  E.  Bra  He y. 

Make  an  outline  before  you  begin  to  write. 


Composition  LXXIII. 

Transform  the  following  poem,  and  note  the  description  con- 
tained therein. 

THE    SUMMER    SHOWER. 

"  It  happened,  on  a  summer's  day, 
As  little  Charlie  left  his  play 

To  march  away  to  school, 
His  loving  little  sister  Bess, 
Whose  every  touch  was  a  caress. 

Mounting  her  tiny  stool. 
Threw  both  arms  round  her  mamma  dear, 
And,  softly  whispering  in  her  ear, 

Begged  her  to  make  a  rule 


154  How  to  Write, 


That  she  too  might  a  scholar  be, 

And  bear  dear  Charlie  company 

When  marching  off  to  schooL 

*  And  mamma  kissed  the  eager  face. 
And  sent  both  off  in  eager  chase 

To  reach  the  schoolroom  door ; 
And  all  within  the  school  went  well, 
And  naught  of  trouble  them  befell. 

Till,  coming  home  once  more, 
A  sudden  shower  them  o'ertook 
And  wet  poor  Charlie's  slate  and  book, 

And  soaked  the  clothes  they  wore. 
And  tiniid  Bessie,  pale  with  fright. 
Reached  mamma  in  a  sorry  plight, 

To  murmur,  o'er  and  o'er, 
'  Please,  mamma,  keep  me  home  with  you, 
For  oh,  indeed,  I  never  knew 

Before  that  rain  could  roar !'  " 

Make  an  outline  before  beginning  to  write. 


Composition  LXXTV, 

Transform  the  following  poem.     Note  the  great  amount  of 
description  contained  in  it  before  the  narration  begins. 

DANIEL    SMITH. 

*'  Daniel  Smith  was  number  six, 
Full  of  mischief,  full  of  tricks ; 
Full  of  supple  strength  was  Dan, 
Like  an  '  India-rubber  man.' 
Fleet  of  foot  and  fleet  of  limb, 
Not  a  boy  could  distance  him. 
As  across  the  fields  he  sped. 
Or  the  merry  pastimes  led. 


Composition.  155 


One  sad  morn  his  way  he  took, 
Cleared  the  field  and  leapt  the  brook, 
Missed  his  foothold,  slipped  and  fell. 
Rolling  down  into  the  dell. 
Many  weary  hours  he  lay, 
Quite  unconscious,  till  that  way 
Passed  a  farmer's  lad,  who  bore 
Daniel  to  his  cottage  door. 
From  that  time  he  never  led 
Merry  pastime  sports,  or  sped 
Fleetly,  with  a  whoop  or  bound, 
O'er  the  fences  or  the  ground. 
Crippled  Dan  (the  name  he  bore) 
Used  to  sit  upon  the  shore, 
Hour  by  hour,  with  silent  lips, 
Looking  at  the  busy  ships." 

Make  an  outline  before  you  begin  to  write. 


Composition  LXXV. 

Transform  the  following  poem.  Note  that  the  description 
is  distributed.  Note,  also,  how  much  interest  the  description 
adds  to  the  story. 

FROZEN     IN     THE     STREET. 

The  air  was  white  with  snow. 
And  on  ih.Q  street  below 

It  lay  spread  out,  a  mantle  pure  and  white, 
And  the  houses,  'neath  the  flakes. 
Grew  to  look  like  frosted  cakes, 

And  over  all  came  down  the  solemn  night. 
The  young  lad's  feet  were  sore. 
As  he  passed  from  door  to  door 

With  the  holly-branches  no  one  wished  to  buy, 


156  How  to  Write, 


Till,  weary  with  his  quest, 

He  at  last  sat  down  to  rest,  — -    ' 

Thinking  drowsily.  How  would  it  seem  to  die? 

Then  suddenly  a  light 

Seemed  to  spread  throughout  the  night, 

And  he  wondered  vaguely  how  and  whence  it  came ; 
And  every  soft  snowflake 
Seemed  an  angel-form  to  take. 

And  he  heard  strange  voices  calling  him  by  name. 
When  the  morning  sun  rose  fair, 
They  found  him  lying  there, 

"With  a  smile  upon  his  lips,  just  as  he  died  ; 
But  they  never  knew,  alas ! 
How  glad  he  was  to  pass 

Through  the  misty  portals  of  a  realm  untried. 

—Ella  F.  CUjdi. 

Make  an  outline  before  beginning  to  write. 


Composition  LXXVI. 

Read  the  following  story,  noting  the  description  that  occurs 
throughout  it. 

EVENTS  OF  A  HALF-DAY  AT  SCHOOL. 

During  my  visit  with  my  friend  I  spent  one  half- 
day  with  her  in  the  school  ivhich  she  attended.  We 
started  about  half -past  eight,  and  the  luallc  proved 
to  be  such  a  pleasant  one  that  I  was  almost  sorry 
when  IV e  came  in  sight  of  the  schoolhouse.  We 
were  none  too  early,  for  the  bell  rang  just  as  we 
reached  the  steps;   so  we  hurried  to  the  room. 

The  schoolroom  was  very  pleasant,  with  its  five 


Composition.  157 


rows  of  seats  filled  with  bright,  happy  children. 
The  teacher,  a  young  lady  with  a  very  pleasing 
countenance,  called  the  school  to  order,  and  the 
day  was  opened  with  singing,  in  which  all  took 
part*  After  the  singing  a  class  in  arithmetic  re- 
cited,/ftThe  class  solved  many  difficult  examples 
in  fractions.  While  this  class  luas  reciting  the 
second  class  studied  their  ReaAers,  and  from  tivie 
to  time  different  -members  of  it  left  their  seats  and 
went  to  a  table  that  stood  in  front  of  the  third 
row  of  sdats.  On  this  table  lay  two  or  three  dic- 
tionaries and  many  other  reference-books,  to  which 
the  pupils  had,  free  access \^A fte?'  a  short  recess, 
during  which  the  pupils  walked^  about  the  room, 
talking  quietly,  the  class  in  readying  was  heard, 
while  the  first  class  studied  geography.  During 
this  recitation  in  reading  the  teacher  stood  in  the 
back  part  of  the  room,  near  one  of  the  windows, 
and  requested  each  pupil  in  turn  to  pass  to  the 
rostrum  in  front  of  the  school,  stand  near  the  desk 
and  read,  (^^jzothr.r  short  recess  ivas  given  the  pu- 
pils, during  which  an  accld,ent  occurrad .  A  girl  in 
passing  knocked  a  plant  from  a  window  and  broke 
the  ])ot.  It  was  quickly  removed.,  and  was  scarce- 
ly missed  from  among  the  many  blooming  plants 
which  filled  the  windrows.  The  class  in  geography 
then  took  places  at  the  blackboard ,  which  ejctcnded, 
around  the  entire  room,  and  completed,  maps  of 
Illinois,  referring  at  times  to  a  large  map  which 
hung  in  the  front  part  of  the  room.  These  maps, 
together  with  the  pictures  nicely  grouped  above  the 


158 


How  to  Write. 


board,  added  much  to  the  good  appearance  of  the 
room.  Following  the  map-drawing  came  recita- 
tions in  history  and  grammar,  the  class  not  recit- 
ing being  engaged  in  preparing  the  next  lesson.; 
At  five  minutes  before  twelve  boohs  were  laid  aside, 
when  the  teacher,  in  a  quiet,  pleasing  way,  talked 
with  the  pupils  for  a  few  minutes.  At  a  signal 
the  pupils  filed  out,  and  were  soon  on  their  way 
home. 

I  was  so  much  pleased  with  the  school  that  I  de- 
termined to  visit  it  again,  which  I  did  on  the  fol- 
lowing afternoon. 


Events  of 
a  Half- 
Day 
Bit  School 


InTRODUC-  f  Walk, 
TION 


Discus- 
sion 


Arrival  at  school. 

Room       {  Slight  description. 

Teacher   {  Slight  description. 

Singing, 

Arithmetic  recitation. 

^of  ] 

\  Description  of  table, 
i^g  i 

Recess      {  Description. 


Study  of 
read 


Conclu- 
sion 


Reading  recitation. 
Accident. 

Maps        {  Description. 

History  and  grammar. 
Talk. 

Pleasure  derived  from  the  visit. 


Composition, 


159 


Composition  LXXVII* 

Narrate  the  events  of  a  half-day  at  school,  following  the 
given  programme  and  imagining  the  necessary  description. 


PROGRAMME, 

Recitations. 

studies. 

1.30  to  2.00  .     . 

.     Language. 

"  2.05     .     . 

.     .     Eecess. 

"  2.30  .     . 

.     A.  Reading. 

B. 

Geography. 

"  2.35     .     . 

.    .    Recess. 

"  3.00  .     . 

.     B.  Geography. 

A. 

History. 

"  3.05     .     . 

.    .    Recess. 

"  3.30  .     . 

.     A.  History. 

B. 

Number. 

"  3.35     .     . 

.    .    Recess. 

"  4.10  .     . 

.     Writing. 

"  4.15     .     . 

.    .    Dismissal. 

Composition  LXXVIII. 

Narrate  the  events  of  a  half-day  at  your  own  school,  and 
embellish  the  story  with  appropriate  description. 


A  more  dignified  name  for  story-tellingr  is  narra- 
tion. 

A  composition  that  details  events  which  are  mu- 
tually dependent  for  their  value  and  interest  is  nar- 
ration. 

Narration  is  subject  to  the  same  laws  as  description. 


IGO  How  to  Write. 


If,  while  telling  a  story,  you  turn  aside  to  interest  your 
reader  in  some  other  story,  or  in  some  description  that  you 
are  giving  too  fully,  you  violate  the  Law  of  Unity.  Narrate 
minor  incidents  of  the  story  and  describe  objects  and  people 
only  for  explanation  or  embellishment,  that  you  may  increase 
the  interest  of  the  reader  in  your  main  work. 

If  you  make  a  mistake  in  determining  the  principal  events 
of  the  story,  you  violate  the  Law  of  Selection.  This  law  is  sub- 
ject to  varied  application,  according  to  the  judgment  of  the 
writer. 

If  you  omit  one  or  more  of  the  principal  points  of  the  story, 
you  violate  the  Law  of  Completeness. 

If  you  fail  to  arrange  incidents  of  the  story  in  such  order 
that  the  reader  will  understand  them  in  their  proper  rela- 
tions, you  violate  the  Law  of  Method.  It  is  not  necessary 
that  the  events  be  narrated  always  in  the  exact  order  of  time 
in  which  they  occur. 

If  you  fail  to  give  to  each  principal  and  each  subordinate 
event  attention  proj)ortionate  to  that  given  to  other  principal 
or  subordinate  events,  you  violate  the  Law  of  Symmetry  and 
offend  the  cultivated  taste. 

In  writing,  much  latitude  is  allowed  the  judgment  and 
taste  of  the  writer.  The  exact  application  of  the  laws  you 
have  learned  is  of  course  controlled  by  the  purpose  the  wri- 
ter has  in  view.  • 


Abstract  Description, 

DESCRIPTION    OF   A   YOUNG   MAN. 

Personally  I  recall  him  as  a  young  man  of  fine  and  appeal- 
ing face,  of  winning  manners,  of  positive  intellectuality.  He 
was  quick  in  repartee,  brilliant  in  conversation,  with  a  fund 
of  information  and  cultivation  to  draw  upon  remarkable  in  so 
Voung  a  man.     At  that  time  there  was  something  even  pa- 


Abstract  Description. 


161 


thetic  in  expression,  like  the  shadow  of  something  unseen. 
He  was  unassuming,  unaggressive,  with  the  bearing  of  one 
w^ho  by  nature  would  prefer  to  do  his  duty  and  bide  his 
time. — Mary  demimer. 


D  U  R  O  C. 

Duroc  was  grand  marshal  of  the  palace,  and  a  bosom  friend 
of  the  emperor  Napoleon.  Of  a  noble  and  generous  character, 
of  unshaken  integrity  and  patriotism,  and  firm  as  steel  in  the 
hour  of  danger,  he  was  beloved  by  all  w^ho  knew  him.  There 
was  a  gentleness  about  him  and  a  purity  of  feeling  which  the 
life  of  a  camp  could  never  destroy. 

Napoleon  loved  him  ;  for,  through  all  the  changes  of  his 
tumultuous  life,  he  had  ever  found  his  affection  and  truth 
the  same. — J.  T.  Headley. 


THE    BEAR    OF    THE    PYRENEES. 

The  bear  of  the  Pyrenees  is  a  serious  beast,  a  thorough 
mountaineer,  curious  to  behold  in  his  great  coat  of  felted 
hair,  yellowish  or  grayish  in  color.  He  seems  formed  for  his 
domicile,  and  his  domicile  for  him.  His  heavy  fur  is  an  excel- 
lent mantle  against  the  snow.  The  mountaineers  think  it  so 
11 


162  How  to  Write. 


good  that  they  borrow  it  from  him  as  often  as  they  can,  and 
he  thinks  it  so  good  that  he  defends  it  against  them  to  the 
best  of  his  ability. 

He  likes  to  live  alone,  and  the  gorges  of  the  heights  are 
as  solitary  as  he  .wishes.  The  hollow  trees  afford  him  a 
ready-made  house ;  as  these  are,  for  the  most  part,  beeches 
and  oaks,  he  finds  in  them  at  once  food  and  shelter.  For  the 
rest — brave,  prudent  and  robust — he  is  an  estimable  animal ; 
his  only  faults  are  that  he  eats  his  little  ones  when  he  runs 
across  them,  and  that  he  is  a  poor  dancer. — H.  A.  Paine. 

You  will  note  that  the  above  descriptions  give  qualities 
that  cannot  be  seen  with  the  eye.  Such  descriptions  are 
called  Abstract  Descrijitions. 

Abstract  Description  frequently  adds  much  to  the  embel- 
lishment of  narration. 

I  wish  you  now  to  rewrite  the  narrations  asked  for  on  pages 
130, 133, 139  and  141,  and  embellish  them  with  both  Abstract 
and  Concrete  Descrij)tion. 

Be  careful  not  to  give  so  much  description  in  any  one  place 
as  to  violate  Unity. 


Composition  LXXIX, 

DICKY    AND    DOLLY. 

Dicky  and  Dolly  are  two  pretty  birds ; 
Singing  all  day  in  their  songs  without  words, 
Flying  about  in  the  sun  and  the  breeze, 
Rising  and  falling  like  leaves  on  the  trees. 

Dicky  and  Dolly  know  nothing  of  care ; 
They  are  as  free  as  their  neighbor,  the  air ; 
Swinging  on  treetops  or  swaying  on  corn, 
Merriest  rattle-pates  ever  were  born. 


Composition .  1 63 


Dicky  and  Dolly,  the  jolly  and  bold, 
What  will  you  do  when  the  winter  is  cold  ? 
"  Do?"  says  brave  Dick,  with  a  worm  in  his  month — 
"  Do?     Why,  you  goose,  we  will  leave  and  go  south !" 

—M.  E.  Bradley. 

Transform  this  poem.  This  description  presents  an  idea  of 
tliese  birds  by  giving  their  actions,  and  not  by  giving  qualities, 
as  in  the  foregoing,  or  by  giving  size  and  form  and  color,  as  in 
the  first  description. 


THE     BIRD. 

There's  a  human  look  in  its  swelling  breast, 
And  the  gentle  curve  of  its  lowly  crest ; 

'Tis  a  bird  I  love,  with  its  brooding  note, 
And  the  trembling  throb  in  its  mottled  throat. 

— iV.  P.  Willis. 

Transform  the  above  stanzas.     Note  the  kind  of  description 
contained  in  the  poem. 


You  hear  that  boy  laughing? — You  think  he's  all  fun  ; 
But  the  angels  laugh,  too,  at  the  good  he  has  done ; 
The  children  laugh  loud  as  they  trip  to  his  call. 
And  the  poor  man  that  knows  him  laughs  loudest  of  all. 

-O.  W.  Ilohics. 

Trnnsform  the  above  stanza.     Note  the  kind  of  description 
)ntained  in  the  poem. 

Composition  LXXX, 

THE    VILLAGE     PREACHER. 

Near  yonder  copse,  where  once  the  garden  smiled, 
And  still  where  many  a  garden  flower  grows  wild, 


164.  How  to  Write. 


There,  where  a  few  torn  shrubs  the  place  disclose, 
The  village  preacher's  modest  mansion  rose. 

A  man  he  was,  to  all  the  country  dear, 

And  passing  rich  with  forty  pounds  a  year ; 

Remote  from  towns,  he  ran  his  godly  race, 

Nor  e'er  had  changed,  nor  wished  to  change,  his  place. 

Unskillful  he  to  fawn,  or  seek  for  power, 
By  doctrines  fashioned  to  the  varying  hour ; 
Far  other  aims  his  heart  had  learned  to  prize — 
More  bent  to  raise  the  wretched  than  to  rise. 

His  house  was  known  to  all  the  vagrant  train  ; 
He  chid  their  wand'rings,  but  relieved  their  pain. 
The  long-remembered  beggar  was  his  guest. 
Whose  beard,  descending,  swept  his  aged  breast ; 
The  ruined  spendthrift,  now  no  longer  proud. 
Claimed  kindred  there,  and  had  his  claims  allowed ; 

The  broken  soldier,  kindly  bade  to  stay, 
Sat  by  his  fire  and  talked  the  night  away — 
Wept  o'er  his  wounds,  or  tales  of  sorrow  done, 
Shouldered  his  crutch,  and  showed  how  fields  were  won. 

Pleased  with  his  guests,  the  good  man  learned  to  glow, 
And  quite  forgot  their  vices  in  their  w^oe ; 
Careless  their  merits  or  their  faults  to  scan. 
His  pity  gave  ere  charity  began. 

Thus  to  relieve  the  wretched  was  his  pride, 
And  even  his  failings  leaned  to  virtue's  side ; 
But,  in  his  duty,  prompt  at  every  call, 
He  watched  and  wept,  he  prayed  and  felt,  for  all : 

And  as  a  bird  each  fond  endearment  tries, 

To  tempt  her  new-fledged  offspring  to  the  skies, 


Composition.  165 


He  tried  each  art,  reproved  each  dull  delay, 
Allured  to  brighter  worlds,  and  led  the  way. 

Beside  the  bed  where  parting  life  was  laid, 
And  sorrow,  guilt  and  pain,  by  turns  dismayed, 
The  reverend  champion  stood.     At  his  control. 
Despair  and  anguish  fled  the  struggling  soul ; 
Comfort  came  down,  the  trembling  wretch  to  raise, 
And  his  last  faltering  accents  whispered  praise. 

At  church,  with  meek  and  unaffected  grace, 
His  looks  adorned  the  venerable  place  ; 
Truth  irom  his  lips  prevailed  with  double  sway ; 
And  fools,  who  came  to  scoff,  remained  to  pray. 

The  service  past,  around  the  pious  man, 

With  ready  zeal,  each  honest  rustic  ran; 

Even  children  followed  with  endearing  wile, 

And  plucked  his  gown,  to  share  the  good  man's  smile; 

His  ready  smile  a  parent's  warmth  expressed ; 
Their  welfare  pleased  him,  and  their  cares  distressed ; 
To  them  his  heart,  his  love,  his  griefs  were  given, 
But  all  his  serious  thoughts  had  rest  in  heaven ; 

As  some  tall  cliff,  that  lifts  its  awful  form, 
Swells  from  the  vale,  and  midway  leaves  the  storm ; 
Though  round  its  breast  the  rolling  clouds  are  spread. 
Eternal  sunshine  settles  on  its  head. 

'"■^Oliver  Goldsmith. 

Transform  the  foregoing  poem. 


Writers  frequently  embellish  their  narrations  by  detailing 
the  influence  that  persons  and  places  have  upon  the  beholder. 
Read  the  following : 


166  How  to  Write. 


BOOKS. 

The  good  book  of  the  hour  is  simply  the  useful  or  pleasant 
talk  of  some  person  with  whom  you  cannot  otherwise  con- 
verse, printed  for  you.  Very  useful,  often  telling  you  what 
you  need  to  know;  very  pleasant,  often,  as  a  sensible  friend's 
present  talk  would  be. 

These  bright  accounts  of  travels,  good-humored  and  witty 
discussions  of  questions,  lively  or  pathetic  story-telling  in  the 
form  of  a  novel,  firm  fact-telling  by  the  real  agents  concerned 
in  the  events  of  passing  history, —  all  these  books  of  the  hour, 
multiplying  among  us  as  education  becomes  more  general,  are 
a  peculiar  characteristic  and  possession  of  the  present  age. 

A  book  is,  essentially,  not  a  talked  thing,  but  a  written 
thing;  and  written,  not  with  the  view  of  mere  communica- 
tion, but  of  permanence.  The  book  of  talk  is  printed  only 
because  its  author  cannot  speak  to  thousands  of  people  at 
once ;  if  he  could,  he  would :  the  volume  is  mere  multiplica- 
tion of  his  voice.  You  cannot  talk  to  your  friend  in  India ; 
if  you  could,  you  would  ;  you  write  instead  :  that  is  mere 
conveyance  of  voice.  But  a  book  is  written,  not  to  multiply 
the  voice  merely,  not  to  carry  it  merely,  but  to  preserve  it. 

The  author  has  something  to  say  which  he  perceives  to  be 
true  and  useful,  or  helpfully  beautiful.  So  far  as  he  knows, 
no  one  has  yet  said  it ;  so  far  as  he  knows,  no  one  else  can  say 
it.  He  is  bound  to  say  it  clearly  and  melodiously  if  he  can ; 
clearly,  at  all  events. 

5ji  5jC  3JC  SfC  JjC  3fC  3JC 

He  would  fain  set  it  down  for  ever;  engrave  it  on  rock  if 
he  could,  saying,  "  This  is  the  best  of  me ;  for  the  rest,  I  ate, 
and  drank,  and  slept,  loved,  and  hated,  like  another ;  my  life 
was  as  the  vapor,  and  is  not ;  but  this  I  saw  and  knew ;  this, 
if  anything  of  mine,  is  worth  your  memory."  That  is  his 
"  writing;"  it  is,  in  his  small  human  way,  and  with  whatever 
degree  of  true  inspiration  is  in  him,  his  inscription  or  scrip- 
ture     That  is  a  "  Book." — John  B^iskin. 


Composition.  167 


THE     MILL    ON     THE     FLOSS. 

As  I  look  at  the  full  stream,  the  vivid  grass,  the  delicate 
bright-green  powdei*  softening  the  outline  of  the  great  trunks 
and  branches  that  gleam  from  under  the  bare  purple  boughs, 
I  am  in  love  with  moistness,  and  envy  the  white  ducks  that 
aie  dipping  their  heads  far  into  the  water,  here  among  the 
withes,  unmindful  of  the  awkward  appearance  they  make  in 
the  drier  world  above. 

The  rush  of  the  water  and  the  booming  of  the  mill  bring 
a  dreamy  deafness,  which  seems  to  heighten  the  peacefulness 
of  the  scene.  They  are  like  a  great  curtain  of  sound,  shut- 
ting one  out  from  the  world  beyond.  Now,  there  is  the  thun- 
der of  the  huge  covered  wagon,  coming  home  with  sacks  of 
grain.  That  honest  wagoner  is  thinking  of  his  dinner's  get- 
ting sadly  dry  in  the  oven  at  this  late  hour ;  but  he  will  not 
touch  it  till  he  has  fed  his  horses — the  strong,  submissive, 
meek-eyed  horses. 

See  how  they  stretch  their  shoulders  up  the  slope  toward 
the  bridge,  with  all  the  more  energy  because  they  are  so  near 
home.  Look  at  their  grand,  shaggy  feet,  that  seem  to  grasp 
the  firm  earth,  at  the  patient  strength  of  their  necks,  bowed 
under  the  heavy  collar,  at  the  mighty  muscles  of  their  strug- 
gling haunches  1 — George  Eliot. 


The  day  is  cold,  and  dark,  and  dreary; 
Ic  rains,  and  the  wind  is  never  weary. 
The  vine  still  clings  to  the  moldering  wall, 
But  at  every  gust  the  dead  leaves  fall, 
And  the  day  is  dark  and  dreary. 

— Longfellow. 


1G8 


ITow  to  Write: 


LUVICliOVS  UESCRIPTIOW. 


A     HORSE. 

This  animal 
wan  a  broken- 
down  plough- 
horse  that  had 
outlived  almost 
everything  but 
his  vieiousnesR. 
He  was  gaunt 
and  shagged, 
with  a  ewe-neck 
and  a  head  like 
a  hammer ;  his 
rusty  mane  and 
tail  were  tan- 
gled and  knot- 
ted with  burrs ; 
one  eye  had  lost 
its  pupil,  and 
was  glaring  and 
spectral ;  but 
the  other  had 
the  gleam  of  a 
genuine  devil 
in  it.  He  bore 
the  name  of 
Gunpowder; 
and  had  been  a 
favorite  steed  of  his  master,  the  choleric  Van  Ripper,  who  was 
a  furious  rider,  and  had  infused,  very  probably,  some  of  his 
own  spirit  into  the  animal. —  Washington  Irving. 


Ludicrous  Descripi 


ion. 


169 


THE     THIN     GENTLEMAN. 

He  was  a  little,  high-dried  man,  with  a  dark,  sqneezed-up 
face,  and  small,  restless  black  eyes,  that  kept  winking  and 
twinkling  on  eacli  side  of  his  little  exquisite  nose  as  if  they 
were  playing  a  perpetual  game  of  peep-bo  with  that  feature. 
He  Avas  dressed  all  in  black,  with  boots  as  shiny  as  his  eyes, 
a  low,  while  neckcloth,  and  a  clean  shirt  with  a  frill  to  it. 
A^gold  watch  chain  and  seals  depended  from  his  fob.  He 
carried  his  black  kid  gloves  in  his  hands,  not  on  them ;  and 
as  he  spoke,  thrust  his  wrists  beneath  his  coat-tails  with  the 
air  of  a  man  who  was  in  the  habit  of  propounding  some  reg- 
ular posers.—  Chivies  Dickens. 


Name  the  following  subjects,  and  give  a  ludicrous  descrip- 
tion of  each. 

Comjyosition  LXXXI. 


170 


How  to  Write. 


Composition  LXXXII. 


■"i^  - 


Composition  LXXXIII.        /^^ 


Composition. 


171 


Composition  LXXXIV. 


FIGUBES, 

It  adds  clearness,  and  frequently  embellishment,  to  composi- 
tion to  assert  a  similarity  between  what  we  would  have  the 
hearer  or  reader  see  or  understand  and  some  object  or  event 
with  which  he  is  supposed  to  be  familiar.  Note  in  the  fol- 
lowing description  that  Ichabod's  arms  are  likened  to  grass- 
hoppers' legs.  To  any  one  who  has  seen  a  grasshopper  this 
likeness  conveys  more  meaning  than  could  be  done  by  several 
lines  of  close  description.  The  words  "  like  a  sceptre  "  mean 
very  much.  Farther  on,  the  motion  of  his  arms  is  likened  to 
the  flapping  of  wings.  No  other  language  could  easily  con- 
vey so  much  of  the  exact  kind  of  thought  to  him  who  had 
ever  witnessed  the  flight  of  a  bird. 


172 


How  to  Write. 


ICHABOD. 

Icliabod 


suitable    figure 


was  a 
for 
such  a  steed.  He 
rode  with  short  stir- 
rups, which  brought 
his  knees  nearly  up 
to  the  pommel  of  the 
saddle; 'his  sharp  el- 
bows stuck  out  like 
grasshoppj^rs ' ;  she 
carried  his  whip  per- 
pendicularly in  his 
hand,  like  a  sceptre, 
and  as  his  horse  jog- 
ged on,the  motion  of 
his  arms  was  not  un- 
like the  flapping  of 
a  pair  of  wings.  A 
small  wool  hat  rest- 
ed on  the  top  of 
his  nose,  for  so  his 
scanty  strip  of  fore- 
head might  be  called , 
and  the  skirts  of  his 
black  coat  fluttered 
^     "^-  '  '        \^       "-^         out    almost    to    the 

horse's  tail.  Such 
was  the  appearance  of  Ichabod  and  his  steed  as  they  sham- 
bled out  of  the  gate  of  Hans  Van  Ripper. 

—  Washington  Irving. 


This  kind  of  comparison,  in  which   the   likeness  is 
asserted,   is  a  siiuile. 


Coinposition.  173 


Study  carefully  the  similes  in  the  selections  below. 

Have  love — not  love  alone  for  one, 
But  man,  as  man,  thy  brother  call ; 

And  scatter,  like  the  circling  sun, 
Thy  charities  on  all. 


•Schiller. 


The  Assyrian  came  down  like  the  wolf  on  the  fold. 
And  his  cohorts  were  gleaming  in  purple  and  gold. 

-"^Byron. 

And  the  night  shall  be  fille^d  with  music, 

And  the  cares  that  infest  the  day 

Shall  fold  their  tents  like  the  Arabs, 

And  as  silently  steal  away, 

— Longfellow. 

Then,  as  a  little  helpless,  innocent  bird 
That  has  but  one  plaifi  passage  of  few  notes 
Will  sing  the  simple  passage  o'er  and  o'er 
For  all  an  April  morning,  till  the  ear 
Wearies  to  hear  it ;  so  the  simple  maid 
Went  half  the  night  repeatnig,  "Must  I  die?" 

______^ .  — Tennyson. 

But  pleasures  are  like  poppies  spread; 
Vou  seize  the  flower:  its  bloom  is  shed: 
Or,  like  the  snow-fall  in  the  river, 
A  moment  white,  then  melts  for  «!»ver. 

__  ^-^Rohert  Bnrn& 

How  the  winters  are  drifting  like  flakes  of  snow. 

And  the  summers  like  buds  between  1 

And  the  years  in  the  sheaf — so  they  come  and  they  go 

On  the  river's  breast,  with  its  ebb  and  flow. 

As  it  glides  in  the  shadow  and  sheen. 

—B.  F.  Taylor. 

Similes  are  great  helps  in  the  explanation  of  thought. 


174  Hoio  to   Write. 


In  the  following  poem  you  notice  that  likenesses  are  ased. 
The  snow  found  on  the  pine,  fir  and  hemlock  is  likened  to 
ermine.  Again,  it  is  likened  to  pearl,  then  to  Carrara  mar- 
ble and  to  swan's  down. 

In  these  cases  the  likeness  is  not  expressed,  but  is  assumed. 


THE     FIRST     SNOW-FALL. 

The  snow  had  begun  in  the  gloaming, 

And  busily,  all  the  night, 
Had  been  heaping  field  and  highway 

With  a  silence  deep  and  white. 

Every  pine  and  fir  and  hemlock 

Wore  ermine  too  dear  for  an  earl ; 
And  the  poorest  twig  on  the  elm  tree 
"  Was  ridged  inch-deep  with  pearl. 

From  sheds  new-roofed  with  Carrara 
Came  Chanticleer's  muffled  crow  ; 

The  stiff  rails  were  softened  to  swan's  dovvn; 
And  still  wavered  down  the  snow. 

I  stood  and  watched  from  my  window 

The  noiseless  work  of  the  sky, 
And  the  sudden  flurries  of  snow-birds, 

Like  brown  leaves  whirling  by. 

I  thought  of  a  mound  in  sweet  Auburn, 
Where  a  little  headstone  stood — 

How  the  flakes  were  folding  it  gently. 
As  did  robins  the  "  Babes  in  the  Wood.' 


CompoHitlon,  175 


Up  spoke  our  own  little  Mabel, 

Saying,  "  Father,  who  makes  it  snow?" 

And  I  told  of  the  good  All-Father 
Who  cares  for  us  here  below. 


Again  I  looked  at  the  snow^-fall, 
And  thought  of  the  leaden  sky 

That  arched  o'er  our  first  great  sorrow, 
When  that  mound  was  heaped  so  high. 

I  remember  the  gradual  patience 
That  fell  from  that  cloud,  like  snow, 

Flake  by  flake,  healing  and  hiding 
The  scar  of  our  buried  woe. 


And  again  to  the  child  I  whispered: 
"  The  snow  that  husheth  all — 
Darling,  the  merciful  Father 
Alone  can  bid  it  fall." 


Then,  wdth  eyes  that  saw  not,  I  kissed  her, 
And  she,  kissing  back,  could  not  know 

That  my  kiss  was  given  to  her  sister 
Folded  close  under  deepening  snow. 

— James  RiLssell  Lowell. 


An  assumed  likeness  is  a  metaphor. 

Study  carefully  the  metaphors  and  i^imiles  in  the  selections 
below. 

Silently,  one  by  one,  in  the  infinite  meadows  of  heaven. 
Blossomed  the  lovely  stars,  the  forget-me-nots  of  the  angels. 

— Longfellow. 


176  How  to    Write. 


Not  a  sound  rose  from  the  city  at  that  early  morning  hour, 
But  I  heard  a  heart  of  iron  beating  in  the  ancient  tower. 
******* 

Then,  most  musical  and  solemn,  bringing  back  the  olden  times 
With  their  strange,  unearthly  changes,  rang  the  melancholy 

chimes, 
Like  the  pvsalm  from  some  old  cloister,  when  the  nuns  sing  in 

the  choir; 
And  the  great  bell  tolled  among  them  like  the  chanting  of  a 

^^■^^^-  —Lomjellow. 


Your  voiceless  lips,  0  flowers !  are  living  preachers ; 

Each  cup  a  pulpit,  every  leaf  a  book, 
Supplying  to  my  fancy  numerous  teachers 

From  loneliest  nook. 
Floral  apostles,  that  in  dewy  splendor 

Weep  without  woe  and  blush  without  a  crime, 
Oh,  let  me  deeply  learn,  and  ne'er  surrender, 
Your  love  sublime  I 

— Horace  Smith. 


Be  careful  in  the  use  of  figures. 

Do  not  explain  by  making  compai'isons  of  objects  or  events 
between  which  the  similarity  is  not  very  apparent;  for  if  you 
do,  you  may  only  mystify  the  thought. 

Do  not  explain  by  comparison  with  objects  or  events  that 
you  may  not  reasonably  sup|X).se  to  be  familiar  to  the  reader 
or  listener. 

Look  at  the  comparison  made  in  the  last  stanza  of  "  The 
Village  Preacher,"  by  Goldsmith  on  page  1G3.  The  com- 
monest observer  knows  of  clifls,  clouds,  storms  and  sun- 
shine, and  may  be  led  by  means  of  this  knowledge  to  an 
understanding  and  an  appreciation  of  the  exalted  thougli^ 
of  the  author. 


Compos  Uioji. 


177 


Composition  LXXXV, 

Narrate  the  story  told  by  the  following  pictures,  embellish- 
ing each  with  an  appropriate  amount  of  description,  varied 
and  distributed. 

A    RIDE   IN    THE    COUNTRY. 


/""^ 


^^^i-^^^^^^^^*::;^^:^ 


12 


178 


How  to  Write. 


y^^^^^'^^^^Xi'^^^'^'-^f'-^^ 


Composition.  179 


Write  narrations  upon  the  following  topics,  inventing  the 
story  in  each  case  and  embellishing  each  with  descriptions,  as 
suggested  by  the  ^^ictures.  Vary  and  distribute  the  descrip- 
tions, and  use  simile  and  metaphor  where  it  is  advisable. 

Retrmrk. — It  is  not  advisable  to  have  too  many  kinds 
of  description  in  the  same  narration.  The  La^w 
of  Unity  and  the  Law  of  Symmetry  are  both 
very  easily  violated. 


Composition  LXXXVI. 


A    DAY    SPENT    AT    UNCLE   JOHN'S. 


180 


How  to  Write, 


Composition  LXXXVII. 


A     DAY    AT    THE     SEASIDE 


Composition  LXXXVIII. 


AN    AFTERNOON'S    FISHING, 


Composition. 


181 


Compos  it  (oil  LXXXIX. 


A    DAY    SPENT    AT 
)  GRANDFATHER'S. 


Composition  XC. 

Write  the  history  of  "An  Iron  Coal-Bucket,"  as  suggested  by 
the  following  outline.  Embellish  the  same  with  varied  de- 
scription. 


1. 

2. 
3. 
4. 
5. 


Dug  from  tlie  mine. 


Carried  to  the  smelting-furnace. 

Smelted. 

Carried  to  the  rolling-mill. 

Rolled. 

6.  Sold  to  the  manufacturer. 

7.  Manufactured. 

8.  Sold  to  the  merchant. 

9.  Sold  to  the  school-authorities. 
10.  Used  in  the  schoolroom. 


182 


How  to  Write. 


Write  a  history  of  each  of  the  following  objects,  obtaining 
your  facts  and  making  your  outline  before  you  begin. 


Coffiposition  XCI, 

A    GLASS    BOTTLE. 

Composition  XCII. 

A    LOAF   OF    BREAD. 

Composition  XCIII. 

^     "    A    SILK    DRESS. 


Composition  XCIV, 

A   WOOL    HAT. 

Cotnposition  XCV. 

A    KID    GLOVE. 

Coinposition  XCVI, 

\       A    DIAMOND    RING. 


Accounts  of  accidents,  fires,  floods,  are  of  the  nature  of  nar- 
ration, but  they  often  require  very  much  description  to  make 
them  intelligible  and  valuable. 

Read  each  of  the  following  poems,  carefully  noting  the  va- 
ried  and   distributed   description  and   the   figures  employed. 


iill' 


in  vour  mi 


nd  the  order  of  thought,  and  then 


reproduce  each  in  prose. 


Composition  XCV II. 

REPORT    OF    AN    ADJUDGED    CASE. 

(Not  to  be  Found  in  any  of  the  Books.) 

Between  Nose  and  Eyes  a  strange  contest  arose ; 

The  spectacles  set  them  unhappily  wrong : 
The  point  in  dispute  was,  as  all  the  world  knows, 

To  which  the  said  spectacles  ought  to  belong, 


Composition.  183 


So  Tongue  was  the  lawyer,  and  argued  the  cause 

With  a  great  deal  of  skill  and  a  wig  full  of  learning; 

While  Chief  Baron  Ear  sat  to  balance  the  laws, 
So  famed  for  his  talent  in  nicely  discerning. 

In  behalf  of  the  Nose  it  will  quickly  appear — 

And  Your  Lordship,  he  said,  will  undoubtedly  find — 

That  the  Nose  has  had  spectacles  always  in  wear. 
Which  amounts  to  possession,  time  out  of  mind. 

Then,  holding  the  spectacles  up  to  the  court. 

Your  Lordship  observes  they  are  made  with  a  straddle 

As  wide  as  the  ridge  of  the  nose  is ;  in  short. 
Designed  to  sit  close  to  it,  just  like  a  saddle. 

Again,  would  Your  Lordship  a  moment  suppose — 
'Tis  a  case  that  has  happened,  and  may  be  again — 

That  the  visage  or  countenance  had  not  a  Nose, 

Pray,  who  would,  or  who  could,  wear  spectacles  then? 

On  the  whole  it  appears,  and  my  argument  shows 
With  a  reasoning  the  court  will  never  condemn. 

That  the  spectacles  plainly  were  made  for  the  Nose, 
i^nd  the  Nose  was  as  plainly  intended  for  them. 

Then,  shifting  his  side  (as  a  lawyer  knows  how), 
He  pleaded  again  in  behalf  of  the  Eyes ; 

But  what  were  his  arguments  few  people  know, 

For  the  court  did  not  think  they  were  equally  wise. 

So  His  Lordship  decreed,  with  a  grave,  solemn  tone; 

Decisive  and  clear,  without  one  if  or  but, 
That  whenever  the  Nose  put  his  spectacles  on. 

By  daylight  or  candlelight,  Eyes  should  be  shut! 

—Coivper. 


184  How  to  Write. 


Composition  XCVIIL 

GOODY   BLAKE   AND    HARRY    GILL. 

Oh,  what's  the  matter?  what's  the  matter? 

What  is't  that  ails  young  Harry  Gill, 
That  evermore  his  teeth  they  chatter, 

Chatter,  chatter,  chatter  still  ? 
Of  waistcoats  Harry  has  no  lack, 

Good  duffle  gray  and  flannel  fine ; 
He  has  a  blanket  on  his  back, 
.And  coats  enough  to  smother  nine. 

In  March,  December,  and  in  July, 

'Tis  all  the  same  with  Harry  Gill ; 
The  neighbors  tell,  and  tell  you  truly, 

His  teeth  they  chatter,  chatter  still. 
At  night,  at  morning  and  at  noon 

'Tis  all  the  same  with  Harry  Gill ; 
Beneath  the  sun,  beneath  the  moon. 

His  teeth  they  chatter,  chatter  still. 

Young  Harry  was  a  lusty  drover. 

And  who  so  stout  of  limb  as  he? 
His  cheeks  were  red  as  ruddy  clover ; 

His  voice  was  like  the  voice  of  three. 
'^Id  Goody  Blake  was  old  and  poor ; 

Ill-fed  she  was,  and  thinly  clad ; 
And  any  man  who  passed  her  door 

Might  see  how  poor  a  hut  she  had. 

All  day  she  spun  in  her  poor  dwelling ; 

And  then  her  three  hours'  work  at  night- 
Alas!  'twas  hardly  worth  the  telling; 

It  would  not  pay  for  candle-light. 
This  woman  dwelt  in  Dorsetshire  ; 

Her  hut  was  on  a  cold  hillside, 


Composition.  185 


And  in  that  country  coals  are  dear, 
For  they  come  far, by  wind  and  tide. 

By  the  same  fire  to  boil  their  pottage 

Two  poor  old  dames,  as  I  have  known, 
Will  often  live  in  one  small  cottage; 

But  she,  poor  woman  !  dwelt  alone. 
'Twas  well  enough  when  summer  came — 

The  long,  warm,  lightsome  summer-day; 
Then  at  her  door  the  canty  dame 

Would  sit,  as  any  linnet  gay. 

But  when  the  ice  our  streams  did  fetter. 

Oh,  then  how  her  old  bones  would  shake ! 
You  would  have  said,  if  you  had  met  her, 

'Twas  a  hard  time  for  Goody  Blake. 
Her  evenings  then  were  dull  and  dead ; 

Sad  case  it  was,  as  you  may  think. 
For  very  cold  to  go  to  bed. 

And  then  for  cold  not  sleep  a  wink. 

Oh,  joy  for  her  whene'er  in  winter 

The  winds  at  night  had  made  a  rout, 
And  scattered  many  a  lusty  splinter 

And  many  a  rotten  bough  about ! 
Yet  never  had  she,  well  or  sick. 

As  every  man  who  knew  her  says, 
A  pile  beforehand,  wood  or  stick, 

Enough  to  warm  her  for  three  days. 

Now,  when  the  frost  was  past  enduring, 
And  made  her  poor  old  bones  to  ache, 

Could  anything  be  more  alluring 
Than  an  old  'hedge  to  Goody  Blake  ? 

And  now  and  then,  it  must  be  said, 

When  her  old  bones  were  cold  and  chill. 


186  How  to  Write. 


She  left  her  fire,  or  left  her  bed, 
To  seek  the  hedge  of  Harry  GilL 

Now,  Harry  he  had  long  suspected 

This  trespass  of  old  Goody  Blake, 
And  vowed  that  she  should  be  detected, 

And  he  on  her  would  vengeance* take. 
And  oft  from  his  warm  fire  he'd  go, 

And  to  the  fields  his  road  would  take ; 
And  there  at  night,  in  frost  and  snow. 

He  watched  to  seize  old  Goody  Blake. 

And  once,  behind  a  rick  of  barley. 

Thus  looking  out  did  Harry  stand ; 
The  moon  was  full  and  shining  clearly. 

And  crisp  with  frost  the  stubble  land. 
He  hears  a  noise ;  he's  all  awake. 

Again  I  On  tiptoe  down  the  hill 
He  softly  creeps.     'Tis  Goody  Blake ; 

She's  at  the  hedge  of  Harry  Gill. 

Right  glad  was  he  when  he  beheld  her: 

Stick  after  stick  did  Goody  pull , 
He  stood  behind  a  bush  of  elder 

Till  she  had  filled  her  apron  full. 
When  with  her  load  she  turned  about, 

The  bye-road  back  again  to  take; 
He  started  forward  with  a  shout. 

And  sprang  upon  poor  Goody  Blake. 

And  fiercely  by  the  arm  he  took  her. 

And  by  the  arm  he  held  her  fast, 
And  fiercely  by  the  arm  he  shook  her, 

And  cried,  "  I've  caught  you,  then,  at  last!" 
Then  Goody,  who  had  nothing  said. 

Her  bundle  from  her  lap  let  fall ; 
And,  kneeling  on  the  sticks,  she  prayed 

To  God,  that  is  the  Judge  of  all. 


Com/position.  187 


She  pniypJ,  her  withered  hand  uprearing, 
While  Harry  held  her  by  the  arm, 
"  God,  who  art  never  out  of  hearing. 
Oh,  may  he  nevermore  be  warm !" 
The  cold,  cold  moon  above  her  head, 

Thus  on  her  knees  did  Goody  pray. 
Young  Harry  heard  what  she  had  said; 
And,  icy  cold,  he  turned  away. 

He  went  complaining  all  the  morrow 

That  he  was  cold  and  very  chill ; 
His  face  was  gloom,  his  heart  was  soi-row ; 

Alas  that  day  for  Harry  Gill ! 
That  day  he  wore  a  riding-coat. 

But  not  a  whit  the  warmer  he ; 
Another  was  on  Thursday  brought, 

And  ere  the  Sabbath  he  had  three. 

*Twas  all  in  vain — a  useless  matter; 

And  blankets  were  about  him  pinned ; 
Yet  still  his  jaws  and  teeth  they  clatter 

Like  a  loose  casement  in  the  wind. 
And  Harry's  flesh  it  fell  away ; 

And  all  who  see  him  say  'tis  plain 
That,  live  as  long  as  live  he  may. 

He  never  will  be  warm  again. 

No  word  to  any  man  he  utters. 
Abed  or  up,  to  young  or  old ; 
But  ever  to  himself  he  mutters, 
"  Poor  Harry  Gill  is  very  cold." 
Abed  or  up,  by  night  or  day. 

His  teeth  they  chatter,  chatter  still. 
Now  think,  ye  farmers  all,  I  pray, 
Of  Goody  Blake  and  Harry  Gill. 

■ —  Wordsworth. 


188 


How  to  Write. 


COMBAniSON  AWn    CONTBAST. 


Co}nposition  XCIX. 


THE    TWO     SLEDS. 
Did  you  ever  think  of  the  great  variety  of  sleds 
that  may  be  seen  any  afternoon  upon  the  hillside 
when  a  party  of  coasters  are  enjoying  themselves  ? 


Composition.  189 


Jfotice  the  difference  between  the  two  sleds  here  de- 
scribed. James  made  his  own  sled.  John's  sled 
was  made  by  a  shilled  workman. 

The  runners  of  James's  sled  were  cut  from  rough 
boards,  and  are  without  shoes.  The  runners  of 
John's  sled,  with  their  gracefully -curved  swan- 
necks,  were  made  of  pieces  of  wood  bent  for  thf 
purpose,  and  are  shod  with  bright  steel  like  a 
large  sleigh.  The  runners  of  James's  sled  are  fast- 
ened together  with  -strips  of  boards  nailed  across 
their  tops,  and  the  only  covering  these  strips  have 
is  a  narrow  board  sawed  square  at  both  ends.  The 
runners  of  John's  sled  are  united  by  benches  se- 
curely braced  at  each  end,  and  covered  by  a  broad 
hoard  with  a  graceful  inward  curve  in  front  and 
outward  curve  behind.  James's  sled  is  not  paint- 
ed, and  is  wholly  without  ornament.  John's  sled  is 
painted  red  and  striped  with  green.  If  you  wish 
to  know  the  name  of  James's  sled,  you  will  have 
to  ask  for  it;  for  it  is  nowhere  to  be  seen;  but  the 
name  '* Fleetwing"  is  tastefully  written  in  plain 
sight  on  John's  sled.  James's  sled  is  drawn  by 
means  of  a  short  rope  fastened  in  the  ends  of  the 
runners.  The  rope  has  been  broken  and  tied  in 
several  places.  Johns  sled  is  drawiv  by  means  of  a 
nice,  smooth  rope  fastened  to  rings  in  the  necks  of 
the   runners.    James's   sled   cost   him  Just   twelve 


190  How  to  Write. 


cents  besides  his  own  worlc.    John's  sled  was  given 
him.     Its  cost  was  a  dolla^r  and  a  half. 

I  do  not  hnow  ivhich  of  tJicse  sled^s  runs  the 
faster,  but  I  hnow  which  loohs  the  better,  and 
which  I  would  rather  have.     Can  you  guess? 

Looking  at  the  pictures  and  following  the  plan  given  below, 
reproduce  the  comparison  of  these  two  sleds. 

1.  Brief  introduction. 

2.  Kind  of  runners. 

3.  How  fastened  together  and  how  covered. 

4.  General  finish. 

5.  Provision  for  drawing. 

6.  Cost. 

7.  Conclusion. 


All  the  laws  of  composition  which  you  have  thus  far 
learned  apply  to  Comparison  and  Contrast. 

You  have  no  doubt  discovered  that  an  outline  or  skeleton 
of  a  composition  is  made  under  the  Laws  of  Selection  and 
Method ;  but  the  Law  of  Method,  when  applied  to  composi- 
tion in  Comparison  and  Contrast,  may  have  another  applica- 
tion than  that  which  you  have  already  seen.  The  selected 
points  may  be  taken,  one  from  each  of  the  topics,  and  be 
compared  and  disposed  of  in  pairs,  as  in  the  foregoing  com- 
position ;    or   an   entire   description   of   each   object   may  be 


Composition .  191 


given  by  itself.  When  the  latter  method  is  employed,  the 
order  in  which  the  selected  points  are  presented  should  be 
the  same  in  the  two  descriptions,  or  as  nearly  the  same  as  the 
nature  of  the  two  subjects  will  admit. 

Rewrite  the  foregoing  composition,  giving  the  entire  descrip- 
tion of  one  sled  before  that  of  the  other. 

'  The  writer  is  to  determine  in  each  case  which  method 
should  be  employed ;  it  depends  largely  upon  the  nature  of 
the  subject,  as  well  as  upon  the  purpose  of  the  composition. 
In  this  case  ("The  Two  Sleds  ")  a  stronger  and  better  com- 
position is  made  by  arranging  the  selected  points  as  you  have 
been  asked  to  arrange  them. 

Write  compositions  on  all  the  subjects  given  in  this  chapter 
by  each  application  of  the  Law  of  Method.  Carefully  study 
every  composition  so  written,  and  decide  which  is  the 
stronger,  clearer,  more  easily  understood,  and  therefore  the 
better ;  for  it  will  be  found  that  the  better  method  depends 
more  on  the  writer  himself  than  on  the  nature  of  the  sub- 
ject or  the  purpose  of  the  compositioji. 

Carefully  apply  the  various  suggestions  for  embellishment 
and  explanation  given  in  the  foregoing  chapters — to  the  end, 
first,  that  your  reader  may  clearly  and  easily  understand  what 
is  intended  to  be  written ;  and  second,  that  he  may  be  inter- 
ested in  it. 


192 


How  to  Write. 


Composition  C. 


1 


Write  a  composition,  comparing   the  two  pictures   above. 
Make  an  outline  before  beginning  to  write. 


Composition. 


193 


Composition  CI. 


THE    TWO    WINDOWS. 


13 


194 


How  to  Write. 


^  IntkODUO-  f  Object  of  displaying  goods  in 


The  Two 
Windows 


TION  i      i:liow  windows. 


Discus- 
sion 


Like- 
nesses, 

DlFFEE- 

ENCES. 


Conclu- 
sion 


Location 

Size 

Glass 

Cleanliness 

Goods  contained 

therein 
Arrangement  of 

goods 
Greneral  efiect 

r  The  thoughts  suggested  by  the 
two  windows — the  one  tell- 
ing of  happiness  and  wealth ; 
the  other,  of  want  and  suf- 
fering. 


Write  a  composition,  comparing  the  two  windows  and  draw- 
ing conclusions  therefrom.  Follow  the  given  outline  while 
writing. 

Composition  CIT. 

W^ITHIN    AND    WITHOUT. 

"  The  twilight  shadows  come  and  go 
Upon  the  window-pane, 
"While,  from  without,  the  wintry  wind 
Keepe  up  a  sad  refrain. 


"  Within,  the  firelight  plays 
Across  the  nursery  floor, 
And  Jack  Frost  knocks  in  vain  the  while 
Upon  my  nursery  door. 


Composition. 


195 


"  Without,  are  hunger,  cold  and  pain. 
And  aching  heads  and  hearts. 
And  weary  limbs  and  hopeless  eyes, 
From  which  fear  ne'er  departs. 

*'  Within,  are  gay  and  happy  hearts, 
And  feast,  and  game,  and  song. 
And  limbs  unwearied,  save  with  play 
That  lasts  the  whole  day  long." 


'  Introduc- 
tion 

\  (Wanting. 

) 

'  Shadows, 
Wintry  wind. 
Hunger, 
Cold, 

• 

Without  - 

Pain, 

Aching  heads   and 
hearts. 

Within 

and 
Without 

Discus- 
sion 

Weary  limbs, 
Hopeless  eyes. 

^  Firelight, 
Gay     and     happy 
hearts, 

Within     - 

Feast, 
Game, 
Song, 

Unwearied  limbs. 

CONCLU-     ] 
SION         J 

■  (Wanting.; 

1 

196  ■  How  to  Write. 


Composition  CIII. 

NOW     AND      THEN. 

PlayiMg  by  the  stream,  |       Standing  by  the  stream, 


Full  of  peace  and  joy, 
Life  a  pleasant  dream, 

Happy  little  boy ! 
Tiny  hopes  afloat 
In  a  fairy  boat — 
Boat  that  needs  no  oar. 
Ah !  so  near  the  shore  ! 


With  a  care- wrapt  brow, 
Life  no  more  a  dream, 

But  a  waking  now. 
Hopes  far  out  of  sight, 
Borne  with  tempest  might 
O'er  the  misty  main, 
Ne'er  to  come  again. 

— Matthias  Barr. 


Transform  the  above  poem.     Make  an  outline  before  begin- 
ning to  write. 

Composition  CIV. 

THE      HE  RITAGE. 

The  rich  man's  son  inherits  lands, 

And  piles  of  brick  and  stone  and  gold ; 

And  he  inherits  soft  white  hands. 
And  tender  flesh  that  fears  the  cold ; 
Nor  dares  to  wear  a  garment  old ; 

A  heritage,  it  seems  to  me, 

One  would  not  care  to  hold  in  fee. 

The  rich  man's  son  inherits  cares : 

The  bank  may  break,  the  factory  burn  ; 

Some  breath  may  burst  his  bubble  shares  • 
And  soft  white  hands  would  hardly  earn 
A  living  that  would  suit  his  turn ; 

A  heritage,  it  seems  to  me. 

One  would  not  care  to  hold  in  fee. 

The  rich  man's  son  inherits  w^ants : 
His  stomach  craves  for  dainty  fare ; 


Composition.  197 


With  sated  heart  he  hears  the  pants 
Of  toiliijg  hinds  with  brown  arms  bare, 
And  wearies  in  his  easy-chair ; 
A  heritage,  it  seems  to  me, 
One  would  not  care  to  hold  in  fee. 

What  doth  the  poor  man's  son  inherit? 

Stout  muscles  and  a  sinewy  heart; 
A  hardy  frame,  a  hardier  spirit ; 

King  of  two  hands,  he  does  his  part 

In  every  useful  toil  and  art ; 
A  heritage,  it  seems  to  me, 
A  king  might  wish  to  hold  in  fee. 

What  doth  the  poor  man's  son  inherit? 
Wishes  o'erjoyed  with  humble  things, 

A  rank  adjudged  with  toil- won  merit, 
Content  that  from  employment  springs, 
A  heart  that  in  his  labor  sings ; 

A  heritage,  it  seems  to  me, 

A  king  might  wish  to  hold  in  fee. 

What  doth  the  poor  man's  son  inherit? 
A  patience  learned  by  being  poor, 

Courage,  if  sorrow  come,  to  bear  it> 
A  fellow-feeling  that  is  scire 
To  make  the  outcast  bless  his  door ; 

A  heritage,  it  seems  to  me, 

A  king  might  wish  to  hold  in  fee. 

0  rich  man's  son  !  there  is  a  toil 
That  with  all  other  level  stands : 

Large  charity  doth  never  soil. 

But  only  whiten,  soft  white  hands ; 
This  is  the  best  crop  from  thy  lands ; 

A  heritage,  it  seems  to  me. 

Worth  bein^  rich  to  hold  in  fee. 


198  How  to  Write. 


0  poor  man's  son !  scorn  not  thy  state  ; 
There  is  worse  weariness  than  thine — 

In  merely  being  rich  and  great : 
Toil  only  gives  the  soul  to  shine, 
And  makes  rest  fragrant  and  benign ; 

A  heritage,  it  seems  to  me, 

Worth  being  poor  to  hold  in  fee. 

Both,  heirs  to  some  six  feet  of  sod, 

Are  equal  in  the  earth  at  last ; 
Both,  children  of  the  same  dear  God, 

Prove  title  to  your  heirship  vast 

By  record  of  a  well-filled  past ; 

A  heritage,  it  seems  to  me. 

Well  worth  a  life  to  hold  in  fee. 

— /.  R.  Lowell. 

Transform  the  above  poem.     Make  an  outline  before  begin- 
ning to  write. 

Composition  OF. 

CLEON    AND    I. 

Cleon  hath  a  million  acres ;  ne'er  a  one  have  I ; 
Cleon  dwelleth  in  a  palace  ;  in  a  cottage,  I ; 
Cleon  hath  a  dozen  fortunes ;  not  a  penny,  I ; 
Yet  the  poorer  of  the  twain  is  Cleon,  and  not  I; 

Cleon,  true,  possesseth  acres  ;  but  the  landscape,  I : 
Half  the  charms  to  me  it  yieldeth,  money  cannot  buy; 
Cleon  harbors  sloth  and  dullness  ;  freshening  vigor,  I ;, 
He  in  velvet,  I  in  fustian ;  richer  man  am  I. 

Cleon  i^  a  slave  to  grandeur ;  free  as  thought  am  I ; 
Cleon  fees  a  score  of  doctors ;  need  of  none  have  I ; 
Wealth-surrounded,  care-environed,  Cleon  fears  to  die : 
Death  may  come ;  he'll  find  me  ready ;  happier  man  am  I. 


Composition. 


199 


Cleon  sees  no  charms  in  Nature  ;  in  a  daisy,  I ; 
Oleon  hears  no  anthems  ringing  in  the  sea  and  sky; 
Nature  sings  to  me  for  ever  ;  earnest  listener,  I ; 
State  for  state,  with  all  attendants,  who  would  change?    Not  I. 

— Charles  Mackay. 

Transform  the  above  poem.     Make  an  outline  before  begin- 
ning to  write. 


Composition  CVT. 


THE  MAPLE   LEAF. 


THE  WHITE  BtRCH   LEAF 


THE   MAPLE    LEAF   AND    THE   WHITE   BIRCH    LEAF. 

These  pictures  represent  the  leaves  of  two  well- 
known  and  highly -prized  trees.  Let  us  study  them 
and  notice  their  lihenesses  and  differences. 

Each  is  a  simple  net-veined  leaf,  having  an  acu- 
minate apejc,  a  doubly -serrate  margin  and  a  long 
petiole. 

The  maple  leaf  is  nearly  round;  it  is  deeply 
five-lobed,  with  the  sinuses  somewhat  acute.  The 
leaf  of  the  white  birch  is  entire,  and  triangular  in 
shape. 


200 


How  to  Write. 


The  veins  of  the  maple  leaf  radiate  from  the 
base  of  the  blade  towards  the  circitDvference ;  those 
of  the  white  birch  are  arranged^  on  each  side  of  a 
mid-vein,  and,  parallel  to  each  other,  ejctend  to  the 
margin. 

The  base  of  the  maple  blade  is  recurved,  or  some- 
what heart- shaped;  that  of  the  white  birch  is  near- 
ly truncate. 

The  maple  leaf  is  exstipulate;  the  white  birch 
leaf  has  deciduous  stipules. 

The  leaf  of  the  maple  is  silvery-white  under- 
neath; that  of  the  white  birch  is  smooth  and  glossy 
on  both  sides. 

The  leaves  of  the  maple  groiv  single,  and  are  ar- 
ranged opposite  on  the  stem;  those  of  the  white 
birch  grow  in  pairs,  and  have  an  alternate  ar- 
rangement. 


Outline. 

Introduction 

■ 

'  Kind, 
Venation, 

The  Leaves  of 
the  Calla 

Likenesses. 

Apex, 
Margin, 

and 

Petiole, 

the  Lily- 

General  appearance 

of-the-Valley 

General  shape, 

Differences    - 

Venation, 

Base, 

Petiole. 

Composition. 


201 


Composition  CVII. 


THE  CALLA  LEAF. 


LILY-OF-THE- VALLEY 
LEAF. 


Write  a  composition,  comparing  the  leaf  of  the  calla  and  the 
leaf  of  the  lily-of- the- valley,  following  the  foregoing  outline. 

Composition  CVIII. 


THE  ROSE  LEAF. 


THE  NASTURTIUM  LEAF. 


Write  a  composition, comparing  the  rose  leaf  and  the  nas- 
turtium leaf. 


202 


How  to  Write, 


Composition  CIX. 


THE   MORNING-GLORY   AND   THE   CYPRESS   VINE. 

The  morning-glory  and  the  cypress  vine  are  two 
beautiful  plants  which  ornament  our  windows  and 
trellises  throughout  the  summer,  hut  which  die  as 
the  frost  approaches.  They  are  alihe,  and  yet  very 
different.  Let  us  notice  in  what  their  lihenesses 
and  differences  consist. 

Both  have  fine,  fibrous  roots. 

The  stemj  of  each  is  herbaceous,  twining,  round, 
green  and  in  structure  exogenous,  consisting  of 
pith  in  the  centre,  around  which  are  layers  of  tis- 
sue covered  with  an  outer  shin.  The  branching  of 
the  stem  is  alternate  in  each,  the  branches  inter- 
lacing profusely.  The  stem  of  the  morning-glory 
is  larger  and  stronger  than  that  of  the  cypress;  it 
is  also  beset  with  minute  hairs,  while  that  of  the 
cypress  is  smooth. 

The  leaves  of  the  two  plants  are  green  and  net- 


Composition,  203 


veined,  and  are  arranged  alternately  on  the  stem. 
The  leaves  of  the  morning-glory  are  large  {often 
four  inches  in  diameter),  entire,  heart-shaped,  and 
are  of  a  dull-green  color.  The  leaves  of  the  cypress 
are  about  an  inch  and  a  half  long,  feather-like, 
being  pinnately  dissected  in  thread-like  divisions, 
and  are  of  a  light-green  color  and,  as  delicate  as 
ferns;  they  grow  in  great  profusion,  and  constitute 
much  of  the  plant's  beauty. 

The  flowers  of  these  plants  are  alike  in  some 
particulars.  Their  beauty  opens  to  the  morning 
and  fades  as  the  sunshine  becomes  brighter.  The 
flowers  of  the  morning-glory  are  large,  slender- 
tubed  funnels,  growing  single  or  in  clusters  of 
three  or  five;  they  are  deep  purple,  delicate  pink 
or  blue,  or  sometimes  pure  white,  always  veined 
and  shaded  with  a  deeper  hue.  The  slender,  con- 
volute buds  are  almost  as  beautiful  as  the  ex- 
panded blossoms.  The  flowers  of  the  cypress  are 
small,  each  being  a  very  slender  tube  suddenly 
spreading  into  a  flat,  five-lobed  border.  They  are 
brilliant  scarlet,  pure  white  or  yellow ;  they  grow 
single,  and  are  arranged  alternately  on  the  stem. 

The  calyx  of  each  is  composed  of  five  sepals,  those 
of  the  cypress  bein^  very  small.  The  five  stamens 
of  each  are  attached  to  the  base  of  the  corolla; 
those  of  the  morning-glory  are  entirely  within 
the  tube,  while  those  of  the  cypress  protrude  be- 
yond the  tube. 

It  is  found  that  these  plants  bear  flowers;  ther& 


204 


How  to  Write, 


fore,  they  are  called  flowering  plants.  Because  of 
the  structure  of  the  steins,  and  because  of  the  net- 
veined  leaves,  they  belong  to  the  group  of  Exogens, 
They  have  twining,  herbaceous  stems  and  the  flower 
parts  in  fives;  therefore,  they  belong  to  the  same 
subordinate  group  named  from  the  convolute  buds 
of  some  members  of  the  order  Convolvulacece. 

Make  an  outline  of  the  foregoing  composition. 


Composition  CX* 


THE  BUTTERCUP. 


DRUMMOND   PHLOX. 


Write  a  composition,  comparing  the  buttercup  and  the  Drum- 
mond  phlox.     Make  an  outline  before  beginning  to  write. 


Composition. 


205 


Composition  CXI* 


THE  STRAWBERRY. 


Write  a  composition,  comparing  the  cinquefoil  and  the  straw- 
berry.    Make  an  outline  before  beginning  to  write. 


206 


How  to  Write. 


Composition  CXII. 


THE  MORNING-GLORY. 


THE  CUCUMBER. 


Write  a  composition,  comparing  the  morning-glory  and  the 
cucumber.     Make  an  outline  before  beginning  to  write. 


Composition. 


Composition  CXIIT. 


THE  CYPRESS   VINE. 


207 


THE  STRAWBERRY. 


Write  a  composition,  comparing  the  cypress  and  the  straw- 
berry.    Make  an  outline  before  beginning  to  write. 


208  How  to  Write. 


Write  compositions  as  follows,  making  an  outline  in  each, 
case  before  writing: 


Composition  CXIV, 


COMPARISON  OF  THE  DRUMMOND  PHLOX  AND 
THE  FUCHSIA. 


Composition  CXV. 

COMPARISON    OF    THE    LILY   AND    CORN. 


Composition  CXVI. 

COMPARISON    OF    THE    CINQUEFOIL    AND    THE 
BUTTERCUP, 


Composition  CXVII. 

COMPARISON     OF     THE    FUCHSIA    AND    THE    PRIM- 

ROSE. 


Composition  CXVIII. 

COMPARISON    OF   THE    ROSE   AND    THE   SYRINGA. 


Composition  CXIX, 


COMPARISON  OF  THE  HONEYSUCKLE  AND  THE 
CUCUMBER. 


Com^position  CXX, 

COMPARISON    OF    THE   VERBENA    AND    THE    PINK. 


Composition, 


209 


Composition  CXXI. 


THE      HORSE. 

Parts:  Long,  slim  head ;  slender  neck;  long  mane;  slender 
body  covered  with  coarse  hair  ;  long,  slender  legs  ;  solid  hoofs ; 
long,  flowing  tail. 

Incisors  in  both  jaws  ;  large,  broad  molars ;  simple  stomach. 

Habits:  Eats  vegetable  food ;  is  a  non-ruminant ;  brings 
forth  its  young  alive. 

THE  GIRAFFE. 
Parts:  Long  head ;  short  horns  covered  with  a  hairy  skin, 
terminated  by  long,  hard  bristles ;  very  long  neck ;  short  mane ; 
short  body  covered  with  reddish-brown  hair,  varied  with  patches 
of  a  light  fawn-color ;  hind  part  of  body  lower  and  much  smaller 
than  the  fore ;  very  long  legs  ;  cloven  hoofs  ;  long  tail  covered 
with  short,  smooth  hair  and  tufted  at  the  end. 


210  How  to  Write. 


No  incisors  in  the  upper  jaw ;  broad  molars ;  compound 
stomach. 

Habits:  Eats  vegetable  food ;  chews  the  cud ;  brings  forth  its 
young  alive. 

THE    HORSE    AND    THE    GIRAFFE. 

Tiuo  very  remfirhahle  arUmals  are  the  horse  and 
the  giraffe— the  former  for  its  riniversal  usefulness, 
and  the  latter  for  its  singular  form  and  appearance. 

The  giraffe  is  very  much  taller  than  the  horse, 
often  measuring  seventeen  feet  from  the  ground  to 
the  top  of  its  head;  while  the  horse  seldom  attains 
the  height  of  sijc  feet. 

Both,  animals  are  covered,  with  hair,  that  of  the 
horse  being  usually  of  a  single  color,  ivhile  that 
of  the  giraffe  is  reddish-brown,  varied  with  an- 
gular patches  of  a  light  fawn-color. 

Each  of  these  animals  has  a  long,  slender  head. 
The  head,  of  the  giraffe  differs  from  that  of  the 
horse,  Jiowever,  in  having  two  horns  covered^  with 
liairy  shin  and  terminating  in  long,  hard  bristles. 
The  neck  of  the  horse  is  much  shoi^ter  than  that  of 
the  giraffe,  but  its  mane  is  longer  and  more  flow- 
ing. The  horse  has  a  long,  slender,  round  body. 
That  of  tlie  gira,ffe  is  short,  small  and^  round,  at 
th^.  loins,  but  increases  rapidly  in  size  and  height 
toward  the  shoulders.  Both  have  long,  slender 
legs,  the  giraffe's  consi dera,bly  longer  and  more 
slender  than  those  of  the  horse.  The  feet  of  both 
are  provided  with  hoofs.  Those  of  the  horse  are 
entire;  the  giraffe's,  divided.  The  horse's  tail  is 
long  and  flowing,  covered,  its  entire  length  with 
long,  coarse  hair.  The  giraffe's  is  tufted  at  the 
end,,  the  upper  part  being  covered  with  short,  smooth 
hair.  'The  giraffe  d,iffers  from  the  horse  in  having 
no  incisors  in  the  upper  jaw,  but  in  their  place  a 


Composit 


ion. 


211 


hard  pad.  The  stomachs  of  these  two  animals  are 
different,  the  horse's  being  simple;  the  giraffe's, 
compound. 

The  horse  feeds  from  the  ground;  the  giraffe, 
largely  from  the  branches  of  trees.  The  giraffe 
chews  the  cud;  the  liorse  does  not.  Each  brings 
forth  its  young  alive. 

From  the  foregoing  lihenesses  and  differences  we 
conclude  that  the  horse  and  giraffe  belong  to  TJngu- 
lata,  though  to  different  groups ;  that  they  are  her- 
bivorous; that  tlio  giraffe  is  a,  ruminant  and  the 
horse  a  non-ruminant ;  and  that  both  are  mam- 
jnals. 


^  Introduction  {  Why  noted. 


Comparison  of  size, 
Comparison  of  covering. 

Heads, 
Horns, 
Necks, 
Manes, 
Bodies, 


The  Horse 

and 
the  Giraffe 


Discus- 
sion 


Comparison 
of  parts 


Legs, 

Feet, 

Tails, 

Teeth, 

Stomachs. 

Manner  of  obtain- 

.  ing  food, 

Comparison      ^,       .       .,  , 

.  -    -  .        1  Unewmff  the  cud, 
or  habits         -n  .      .  ^    ,, 

linnging       lorth 

[      young. 


Conclusion  {  Classification. 


212 


How  to   Write, 


Compositioii  CXXII, 

THE     CAT     AND     THE     BEAVER 


T  H  E      C  A  T. 

Parts:  Short,  broad  head  ;  long,  slejider  body  covered  with 
fur ;  long  tail  ;  slender  legs ;  five  toes  on  each  fore-foot ;  four 
toes  on  each  hind-foot ;  sharp,  curved,  retractile  claws. 

Two  long,  pointed  canines  in  each  jaw,  fitted  for  tearing; 
sharp,  uneven  back  teeth. 

Habits:  Eats  animal  food;  gets  its  food  by  watching  for 
and  springing  upon  it ;   sees  well  in  the  dark. ' 

THE      BE  AVE  R. 

Parts:  Flat  head;  long,  heavy  body;  broad,  flat,  scaly  tail; 
fore-legs  shorter  than  hind-legs ;  five  toes  on  each  foot ;  the  toes 
of  hind-feet  united  by  a  web ;  sharp,  curved  claws. 

Two  long,  sharp,  chisel-shaped  front  teeth  in  each  jaw,  fitted 
for  gnawing  ;  broad,  rough  back  teeth. 


Compoaltlon. 


2!3 


Habits:  Eats  vegetable  food  ;  gnaws;  frequents  water;  builds 
dams ;  makes  two-story  houses,  with  lower  stoiy  under  water. 

Write   a  composition,  comparing  the   cat  and   the   beaver. 
Select  the  necessary  points  from  the  data  given  under  each. 

S 


Make  an  outline  before  beginnine  to  write. 


Composition  C XXIII. 

THE    DUCK    AND     THE    CRANE 


THE      DUCK. 

Farts  and  Habits:  Broad,  flat,  lamellated  bill,  covered 
with  a  skin  ;  short  legs  placed  far  back  and  far  apart ;  eats 
grain  and  small  animals,  which  it  obtains  from  the  water  and 
mud  with  its  bill ;  three  toes  in  front  and  one  behind ;  swims 
and  dives;  narrow  head;  is  awkward  in  walking;  short,  slen- 


214 


How  to    Write. 


der  neck ;  front  toes  webbed ;  lays  eggs ;  boat-shaped  body 
covered  with  soft,  oily  feathers;  is  a  swimmer;  medium-sized 
wings  ;  short  tail ;  does  not  fly  well. 

THECRANE. 
Parts  and  Habits:  Long  wings;  claws  short  and  strong; 
loves  water ;  sliort  tail ;  eats  insects,  fish  aiKl  grain  ;  small 
head;  legs  very  long  and  slender;  lays  eggs;  long,  slender 
neck ;  is  a  wader :  slender  body  covered  with  feathers ;  fi-e- 
quents  marshes  and  muddy  places ;  long,  slim  toes  united  at 
the  base ;  hind-toe  elevated ;  uses  its  bill  in  obtaining  fish 
from  the  water;  long,  slender  bill,  compressed  on  the  sides 
and  slightly  curved  at  the  tip ;   tarsi  naked. 

Compare  the  duck  and  the  crane,  selecting  and  arranging 
necessary  points  from  the  Farts  and  Habits  promiscuously 
given  under  each. 


Composition  CXXIV. 

THE    HAWK    AND    THE    CRANE 


Composition.  215 


THE     H  AW  K. 

Parts  a^vd  Habits:  Stout  body  covered  with  feathers  not 
oily  ;  wings  strong,  long  and  pointed ;  lays  eggs ;  broad  tail ; 
short,  strong  legs  placed  near  the  centre  of  the  body^  short, 
thick  neck;  front  toes  not  united  by  a  web;  strong,  thick, 
hooked  bill;  hind-toes  on  a  level  with  the  front  toes;  large, 
flat  head;  strong,  hooked  claws;  generally  flies  low;  eats 
rats,  rabbits  and  other  small  animals,  which  it  seizes  with 
its  claws  and  tears  with  its  bill ;  does  not  frequent  the 
water;  tarsi  feathered;  folds  its  legs  under  the  body  when 
flying. 

THE     CRANE. 

Parts  and  Habits:  Long  wings;  claws  short  and  strong; 
loves  water ;  tail  short ;  eats  insects,  fish  and  grain ;  small 
head ;  legs  very  long  and  slender ;  lays  eggs ;  long,  slender 
neck;  is  a  wader;  slender  body  covered  with  feathers;  fre- 
quents marshes  and  muddy  places ;  long,  slim  toes  united  at 
the  base;  hind-toe  elevated;  uses  its  bill  in  obtaining  fish 
from  the  water;  long,  slender  bill,  compressed  on  the  sides 
and  slightly  curved  at  the  tip;  tarsi  naked;  when  flying 
stretches  its  legs  out  behind. 


Write  a  composition,  comparing  the  hawk  and  the  crane. 

Select  the  necessary  points  from  the  data  given  under  each. 
Make  an  outline  before  beginning  to  write. 


216 


Hcna  to  Write 


Composition,  217 


Compositiiyn  CXXV. 

THE  DOMESTIC  CAT,  THE   COMMON   DOG   AND  THE 
BLACK    BEAR. 

Parts  and  Habits:  Short,  strong  necks;  Lreathe  by  means 
of  lungs;  broad  Ilea J%;^ring  forth  their  young  alive;  stout 
bodies  covered  with^^^i^H*;  eat  animal  food,  which  they  obtain 
by  slyly  springing  upon  it,  by  chasing  it  down  or  by  stealing 
it;  canine  i eel h,  long  and  sharp,  fitted  for  tearing;  warm  blood ; 
very  small  incisor  teeth ;  strong,  sharp  claws ;  internal  skel- 
etons;  molar  teeth  uneven,  pointed  and  sharp,  fitted  for  cut- 
ting;  legs  short  and  strong. 

(Give  a  name  to  the  group.) 


THE    GRAY    SQUIRREL,    THE    RABBIT    AND    THE 
COMMON    MOUSE. 

Farts  and  Habits:  Low,  slender  bodies  covered  with  fur ; 
warm  blood ;  small,  round  or  pointed  heads  ;  bring  forth  their 
young  alive ;  canine  teeth  wanting ;  eat  vegetable  food ;  in- 
cisor teeth  long,  strong  and  chisel-shaped,  fitted  for  gnawing ; 
internal  skeletons ;  molar  teeth  broad  and  uneven,  fitted  for 
grinding ;  breathe  by  means  of  lungs  ;  slender  legs ;  toes  pro- 
vided with  long,  slender  claws. 

(Give  a  name  to  the  group.) 

Write  a  composition,  comparing  the  groups  of  animals  pic- 
tured on  the  opposite  page.  Select  the  facts  and  arrange  them 
properly  before  beginning  to  write. 


218 


How  to  Write 


=?-i^^-< 


Composition.  219 


Composltiofi  CXXVI, 

THE     CAT    AND     THE     LEOPARD. 

Parts  and  Habits:  Well-shaped  bodies  covered  with  fur; 
short  muzzles;  sly  and  quick;  broad,  rounded  heads;  feet  digit- 
igrade  ;  two  long,  sharp  canines  in  each  jaw,  fitted  for  tearing  ; 
eat  animal  food,  which  they  obtain  by  cunning  and  watch f nines-, 
springing  upon  their  victim;  short,  muscular  legs;  soles  hairy; 
six  small  incisors  in  each  jaw;  a  naked  pad  under  each  toe,  and 
one  under  the  ball  of  the  loot;  sharp,  uneven  molars,  fitted  for 
cutting;  jaws  short  and  powerful;  live  toes  on  each  fore-foot; 
one  molar  on  each  side  of  each  jaw  much  larger  and.  sharper 
than  the  rest,  called  the  lacerator;  tongues  covered  with  horny 
spines  directed  backward;  four  toes  on  each  hind-foot;  no  mo- 
lars behind  the  lacerator  in  the  upper  jaw;  see  well  at  night; 
sharp,  compressed,  retractile  claws. 

THE  DOG  AND  THE  FOX. 
Parts  and  Habits:  Long  legs ;  well-shaped  bodies  covered 
with  hair;  feet  digitigrade;  six  small  incisors  in  each  jaw;  one 
large  lacerator  on  each  side  of  each  jaw;  eat  animal  food,  which 
they  obtain  by  chasing  or  running  down;  claws  blunt  and  non- 
retractile  ;  elongated  muzzles ;  five  toes  on  each  fore-foot ;  two 
long,  rather  blunt,  canines  in  each  jaw,  fitted  for  tearing;  smooth 
tongues ;  two  blunt  molars  behind  the  lacerator  of  the  upper 
jaw ;  hearing  and  smell  acute ;  four  toes  on  each  liind-foot ; 
molars  uneven  and  rather  blunt,  fitted  for  crushing;  soles 
hairy ;  jaws  weaker  than  those  of  the  preceding  animals ; 
heads  of  medium  size. 

THE  BEAR  AND  THE  RACCOON. 
Parts  and  Habits:  Strong,  curved,  blunt  claws  which  are 
non-retractile ;  lar-ge,  broad  heads ;  soles  of  feet  destitute  of  hair ; 
six  small  incisors  in  each  jaw ;  thick,  clumsy  bodies  covered  with 
hair;  molars  flat,  broad  and  blunt,  fitted  for  crushing;  short, 
strong  legs;  two  long,  blunt  canines  in  each  jaw,  fitted  for  tear- 
ing; five  toes  on  each  foot,  pointing  forward ;  smooth  tongues; 
eat  vegetable  food  almost  entirely ;  three  large,  blunt  molars  be- 
hind the  lacerators;  pointed  muzzles;  feet  plantigrade ;  seldom 
eat  flesh;  one  small  lacerator  on  each  side  of  each  jaw. 

Write  a  composition,  comparing  the  groups  of  animals  pic- 
tured on  the  opposite  page.  Select  the  facts  and  arrange  them 
properly  before  beginning  to  write. 


220 


How  to  Write. 


Composition.  221 


Composition  C XXVII, 

THE  FOX  SQUIRREL  AND  THE  GRAY  SQUIRREL. 

Parts  and  Habits:  Broad,  rougli  molars  with  roots ;  four 
toes  on  each  fore-foot;  slim,  beautiful  bodies  covered  with 
fur;  tails  long  and  busby;  eat  vegetable  food;  slim  legs; 
two  long,  sharp,  chisel-shaped  incisors  in  each  jaw ;  live  in 
trees  or  burrow  in  the  ground ;  canines  wanting ;  large, 
round  heads  ;  gnaw ;  a  long,  sharp,  curved  claw  on  each  toe ; 
make  nests  of  leaves  and  sticks ;  five  toes  on  each  hind-foot ; 
cleft  upper  lips;  small,  pointed  ears. 


THE    COMMON    MOUSE:  AND    THE   MUSKRAT. 

Parts  and  Habits:  Long  bodies;  long,  slim,  naked  tails; 
five  toes  on  each  hind-foot ;  gnaw ;  climb ;  pointed  heads ; 
legs  of  medium  size;  canines  wanting;  four  toes  on  each 
fore-foot;  two  long,  sharp  incisors  in  each  jaw;  eat  veg- 
etable and  animal  food;  burrow;  molars  broad  and  rough, 
with  roots;  live  in  holes;  cleft  upper  lips;  long,  slender 
bodies  covered  with  fine  fur ;  short,  round  ears. 


THE   GRAY   RABBIT   AND    THE  JACKASS    RABBIT. 

Parts  and  Habits:  Short  tails ;  five  toes  on  each  fore-foot ; 
eat  vegetable  food;  slender  bodies;  move  by  leaps  or  jumps; 
small,  pointed  heads;  soles  covered  with  hair;  two  long,  sharp, 
chisel-shaped  incisors  in  each  jaw ;  gnaw ;  burrow ;  molars 
broad  and  rough  and  without  roots ;  four  toes  on  each  hind- 
foot  ;  two  small  teeth  behind  the  incisors  of  the  upper  jaw ; 
fore-legs  shorter  than  hind-legs ;  timid ;  interior  of  mouths 
covered  with  hair ;   quick ;   long,  pointed  ears. 


Write  a  composition,  comparing  the  groups  of  animals  pic- 
tured on  the  opposite  page.  Select  the  facts  and  arrange  them 
properly  before  beginning  to  write. 


222 


How  to  Write. 


Composition,  223" 


Comjyosition  CXXVIII. 

THE     ROBIN,    THE     CHIMNEY-SWALLOW    AND     THE 
SPARROWHAWK. 

Part8  atul  Habits:  Bodies  covered  with  loose,  downy  plu- 
mage ;  spend  most  of  their  time  on  the  wing ;  legs  short,  gen- 
erally feathered  to  the  heel ;  warm  blood ;  bones  hollow  and 
very  light;  hind-toe  on  a  level  with  the  toes  in  front,  fitting 
the  feet  for  grasping  or  perching;  lay  eggs;  knee  free  from 
the  body ;  breathe  by  means  of  lungs  connected  with  air-cells 
in  various  parts  of  the  body;  claws  long,  curved  and  sharp; 
wings  always  strong,  adapted  for  rapid  or  long  flight ;  feed 
n})on  insects,  grains,  fruit;  toes  free  from  web;  a  complete 
double  circulation. 

THE    QUAIL,    THE     GUINEA-FOWL    AND    THE    COM- 
MON   BARN-FOWL. 

Parts  and  HabitSi  Bones  hollow  and  very  light;  obtain 
their  food  by  scratching;  heavy  bodies  covered  with  coarse, 
loose  plumage;  hind-toe  small  and  elevated  or  absent;  breathe 
by  means  of  lungs  connected  with  air-cells  in  various  parts  of 
the  body;  knee  free  iVom  the  body;  a  complete  double  circu- 
lation; legs  short  and  strong,  fitted  for  scratching;  lay  eggs; 
front  toes  entirely  free;  warm  blood;  claws  generally  blunt  and 
strong;  spend  most  of  their  time  on  the  ground  ;  bills  short  and 
strong,  fitted  for  pecking;  eat  small  animals,  plants,  fruit,  grain. 


THE  DUCK,  THE  LOON  AND  THE  TERN. 

Parts  and  Habits:  Knees  w^holly  withdrawn  within  the 
skin  of  the  body  ;  feed  upon  grain,  grass,  fish,  mollnsks  and 
insects  ;  flattened,  boat-shaped  bodies  covered  with  soft,  dense, 
oily  plumage;  obtain  most  of  their  food  from  the  water;  legs 
short  and  set  far  apart  and  far  back  on  the  body  ;  lay  eggs ; 
front  toes  webbed,  adapted  to  swimming;  bones  hollow  and 
very  light;  a  complete  double  circulation;  hind-toe  elevated 
or  absent;  warm  blood;  swim;  legs  feathered  to  the  heel; 
breathe  by  means  of  lungs  connected  with  air-cells  in  various 
parts  of  the  body ;  claws  generally  small  and  weak. 

Write  a  composition,  comparing  the  groups  of  birds  pictured 
on  the  opposite  page.  Select  the  facts  and  arrange  them  prop- 
erly before  beginning  to  write. 


224 


How  to  Write. 


Composition  CXXIX. 


Write  a  composition,  comparing  the  two  girls  pictured 
above.  Study  the  picture  carefully,  and  make  an  outline 
before  beginning  to  write. 


Composition. 


225 


Composition  CXXX, 


Write    a   composition,   comparing   the   two   men   pictured 
above.      Make  an  outline  before  beginning  to  write. 


226 


How  to  Write, 


Composition  CXXXI* 


Write    a    composition,    comparing  tlie  two   men   pieturvxJ 
above.     Make  an  outline  before  beginning  to  write. 


Composition  CXXXTI. 


Write  a  composition^  compar- 
ing the  homes  pictured  above 
and  on  the  opposite  page.  Study 
the  pictures  carefully,  and  make 
an  outline  before  beginning  to 
write. 


Composition. 


227 


228  How  to  Write. 


Cofuposition  CXXXIII, 

WAS  H  I  N  G  T  O  N. 

(Suggestions.) 

Time  in  which  he  lived.  Nationahty.  Educational 
advantages.  Early  disposition  and  character.  Service 
in  the  French-and-Tndian  War.  Rank :  Commissioner 
to  the  French.  Made  commander-in-chief.  Resigna- 
tion. A  member  of  the  House  of  Burgesses  of  Vir- 
ginia for  fifteen  years. 

Service  in  the  Revolution.  Condition  of  the  col- 
onies at  this  time.  Causes  of  the  war.  Positions 
held  during  tlie  war.  Results  of  the  war.  The 
Federal  Constitution. 


Elected  President.  Length  of  service.  Note- 
worthy events  of  his  term  of  office.  Retirement 
from  public  life.  Death.  Character  and  rank  as 
a  general  and  a  statesman. 

NAPOLEON. 

(Suggestions.) 

Birth  :  when  and  where.  Residence ;  education  ; 
sports.  Occupations  during  the  latter  part  of  youth. 
Service  in  the  French  Revolution;  on  which  side  he 
served.  His  aid  in  the  siege  of  Toulon.  Appoint- 
ment to  aid  Barras  in  defending  the  Directory. 

Condition  of  France.  Italian  campaign.  Egyptian 
campaign.  State  of  France  on  his  return ;  his  action. 
Organization  of  the  government  as  a  consulate  ;  Na- 


Composition.  229 


poleon  consul.     Hostilities  with  England.     Napoleon 
emperor.     Operations  in  Germany.     Trafalgar. 

Conquest  of  Prussia.  Conquest  of  Austria.  Inva- 
sion of  Russia :  result.  Leipzig.  Surrender  of  Paris. 
Deposition  of  Napoleon;  departure  for  Elba.  Water- 
loo. Abdication  ;  St.  Helena.  Death  :  when  ;  where. 
Character  and  rank  as  a  general. 


WASHINGTON  AND  NAPOLEON. 

These  two  -men  were  alike  in  that  each  stood  for 
a  nwniber  of  years  the  central  figure  in  a  great 
nation,  coimna;nding  large  armies  and  gitid^ing  his 
people  through  a  great  crisis  in  their  history ;  but 
we  can  scarcely  conceive  of  two  men  with  principles 
and  motives  more  directly  opposed. 

Both  enjoyed  tolerably  good  advantages  for  ed- 
ucation in  youth,  and  both  are  said  to  have  ex- 
celled in  mathematics  and  the  exact  sciences.  Both 
were  evidently  born  commanders ;  and  we  read  of 
them  even  in  early  youth  enjoying  military  sports 
and  drilling  moch  armies. 

Each  of  these  men  was  possessed  of  an  indom- 
itable ambition,  and  each  found  himself,  as  he 
arrived  at  manhood,  in  a  position  to  gratify  that 
ambition. 

Washington  was  selected  to  lead  a  band  of  pa- 
triots in  their  struggle  for  independence.  It  was 
a  bitter  struggle  —  a  few  weah  colonies  against  a 
strong  nation  and  a  tyrannical  king.  But  they 
did  not  rely  in  vain  upon  Washington.  He  devoted 
his  life  to  his  country's  service,  and,  brought  his 
people    safe   to    a   position   of    independence.     His 


230  How  to  Write. 


ambition  was  not  for  himself,  hut  for  his  country. 
By  his  noble  character  he  gained  not  only  the  re- 
spect, hut  the  love,  of  the  whole  people. 

Jfapoleon  began  his  public  career  amid  the  clos- 
ing scenes  of  the  French  Revolution.  But  the 
French  people  ivere  very  different  from  the  hardy 
Americans.  They  scarcely  comprehended  the  mean- 
ing of  the  word  '' independence;"  andy  it  is  not  sur- 
prising that  JVapoleon,  with  his  ind.omitable  will 
and  ambition,  soon  obtained  complete  control  of 
thejn.  He  did  not  stop  at  the  boundaries  of  his 
own  country,  but  overthrew  nations  and  dethroned 
kings  in  every  direction,  and  was  at  length  crown- 
ed einperor  of  the  vast  country  he  had  conquered. 

Washington,  when  the  crisis  of  the  great  polit- 
ical struggle  luas  past,  proved  himself  as  able  a 
statesman  as  he  had  been  a  general.  He  toolc  coun- 
sel with  his  assistants,  and  did.  not  rest  until  he  saw 
his  country  respected,  among  all  nations  as  a  free 
and  independent  government.  He  then  refused  re- 
election to  the  chief  executive  office  and  gave  place 
to  another. 

Kapoleon  was  a  despot.  He  controlled  absolutely, 
tooh  no  counsel  with  his  subord^incdies,  but  ruled 
them  with  an  iron  hand.  And  when  his  despotism 
could  no  longer  be  borne,  he  fell;  and  we  find  him 
all  at  once  crushed,  dethroned  and  exiled  from  his 
country. 

JSCapoleon  died  an  exile  on  a  distant  island,  with 
none  to  mourn  for  him.  Washington  enjoyed  to  the 
last  the  respect  and  love  of  his  country,  and  at  the 
news  of  his  death  the  whole  people  mourned  as  for 
a  dear  friend. 

At  the  name  of  JVapoleon  we  thinh  of  a  master' 


Composition. 


231 


mind;  at  chat  of  WaslUthgtan,  of  a  trae  and  noble 
heart, 

TopiccU  Outline, 

IntrodUO-  )  General  statement  of  likenesses 
TION         J       and  differences. 


Washing- 
ton and 
Napoleon 


Education 
Early  traits  of 

Like- 

Discus- 

character 

nesses, 

sion 

Public  career 

Differ- 

Character 
Death 

ences. 

CONCLU-     1 
SION 

"  Opinion  of  posterity 

'. 

Read  the  lives  of  Washington  and  Bonaparte  and  study  the 
foregoing  suggestions.  Then  study  the  outline  for  the  compo- 
sition. Write  a  composition  in  Comparison  and  Contrast,  tak- 
ing Washington  and  Napoleon  for  your  subject 


Composition  CXXXIV. 

BENJAMIN     FRANKLIN, 

(Suggestions.) 

Early  Life:  Parentage.  Birth  :  when  and  where. 
Education.     Period  of  apprenticeship. 

Manhood:  Before  entering  on  his  public  hfe.  Oc- 
cupation: printer.  Editor  of  Poor  Richard's  Al- 
ma/iac;  maxims.  Character  as  a  philosopher.  PubHc 
life.  Postmaster  at  Philadelphia.  Member  of  General 
Assembly  of  Pennsylvania. 

Electric  experiments :  lightning-rods.    Deputy-gen- 


232 


How  to  Write. 


eral  of  Post-Office  Department.  Agent  of  several  col- 
onies to  Europe.  Member  of  Continental  Congress. 
Signer  of  Declaration  of  Independence.  Minister  to 
France  during  Revolution.  Return  to  iVmerica.  Cha- 
racter as  statesman.  Connection  with  educational  in- 
stitutions.    Influence  on  literary  world.     Death. 


Tojncal  Outline, 

'  InteODUC-  I  (Let  the  pupil  make  the   intro- 
TION         J       duction.) 


Time 

Nationality 
Educational       ad- 
vantages 
-1  Early  dispositions 
Early  occupations 
Public  life 
Character 
Death 

Rank. 


Washing- 
ton and 
Franklin 


Discus- 


sion 


Like- 
nesses, 

DlFFEK- 

ENCES.. 


Conclu- 
sion 


Write  a  composition  in  Comparison  and  Contrast,  taking 
Washington  and  Franklin  as  your  subject.  Study  the  lives 
of  both  men,  following  the  suggestions  given. 


CompositioTi  CXXXV. 

PATRICK     HENRY. 

(Suggestions.) 

Early  Life:    Parentage.     Birth :    time  and  place. 
Education.     Early  disposition  and  character. 


Composition.  233 


Manhood:  First  occupation :  business ;  result.  Final 
occupation :  lawyer.    Character  and  rank  as  a  lawyer. 

Public  life.  Member  of  the  House  of  Burgesses  of 
Virginia.  Speeches  on ''Stamp  Act;"  "Tax  on  Tea;" 
"  Boston  Port  Bill :"  effect  of  these  speeches. 

Member  of  Congress.  Affair  with  Dun  more  of  Vir- 
ginia. Governor  of  Virginia.  Position  on  the  adop- 
tion of  the  Federal  Constitution.  Final  acquiescence. 
Death  :  when.  Character  and  rank  as  an  American 
statesman. 


JOHN     ADAMS. 

(Suggestions.) 

Earhj  Life:  Birth :  time ;  place.  Parentage.  Edu- 
cation. 

Manhood:  Profession  :  rank  as  a  lawyer.  Position 
among  his  countrymen.  Member  of  Massachusetts 
Assembly.  Member  of  First  and  Second  Congresses. 
His  service  in  Congress.  Secured  the  adoption  of  the 
Declaration  of  Independence. 

Commissioner  to  decide  on  a  treaty  of  peace  and 
commerce  at  the  close  of  the  Revolution.  Terms  of 
the  treaty.  Minister  of  United  States  to  the  Court 
of  St.  James — the  first  one.  Vice-President  for  two 
terms.     President. 

Principles  of  different  parties.  French  troubles. 
Alien-and-Seditionlaws.     Party  distinctions.    Death: 


234  How  to  Write. 


when ;    where.      Character  as   a  man,   lawyer  and 
statesman. 

Compare  the  lives  of  Patrick  Henry  and  John  Adams. 
Study  the  lives  of  both  men,  noting  in  particular  the  points 
given  in  "  Suggestions."  Make  an  outline  before  beginning 
to  write. 


Composition  C XXXVI. 

ROBERT    FULTON. 

(Suggestions.) 

Early  Life:  Birth :  time  and  place.  Parentage. 
Education. 

Manhood:  Early  occupation:  portrait  -  painting. 
Residence  abroad.  Later  occupation :  civil  engi- 
neering.    Life  in  France ;   studies  and  experiments. 

First  successful  application  of  steam  to  naviga- 
tion. Navio-ation  and  navigable  waters.  Influence 
of  Fulton's  invention  on  civilization.  Fulton's  pat- 
ent.    Death. 

GEORGE     STEPHENSON. 

(Suggestions.) 

Early  Life:  Birth :  time  and  place.  Education. 
Occupation  as  a  boy.      Experiments  of  youth. 

Manhood:  The  then  existing  railways.  The  many 
attempts  to  apply  steam  to  railway  locomotion.  Ste- 
phenson's attention  to  the  subject.  The  first  railway 
locomotive. 


Composition,  235 


Effect  of  his  inventions  on  civilization  and  com- 
merce. The  multiplicity  of  railroads  now,  especially 
in  our  country :  advantages  arising  therefrom.  Death 
of  Stephenson. 

Compare  the  lives  of  Robert  Fnlton  and  George  Stephenson. 
Study  the  lives  of  both  men,  following  the  points  given  in 
"  Suggestions."     Make  an  outline  before  beginning  to  write. 


Composition  CXXXVII. 

JOHN     SMITH. 

(Suggestions.) 

Early  Life:  Birth  :  time  and  place.  Education. 
Adventures  of  youth. 

Manhood:  First  voyage  to  America :  when  made. 
Explorations  on  coast  of  Virginia.  Founding  a  Vir- 
ginia colony.  Jamestown.  London  Company;  first 
charter.  Government  of  colony ;  two  councils  ;  gov- 
ernor. 

John  Smith  as  governor.  Standing  among  the  col- 
onists. Prosperity  of  colony  under  him.  His  explo- 
rations. Narrow  escape.  Friendship  of  Indians  while 
Smith  remained.  The  second  charter.  Smith's  re- 
turn to  England ;  cause  and  results.  Change  of  gov- 
ernment.    Smith's  second  voyage.     Third  charter. 

Introduction  of  slavery.  Indians  ;  wars  ;  results. 
Virginia  made  a  royal  province.  Death  of  Smith : 
when  ;  where. 


236  How  to  Write, 


•     WILLIAM      PENN. 

(Suggestions.) 

Early  Life:  Birth  :  time  and  place.  Education. 
Expulsion  from  home ;    cause. 

Manhood:  Religious  views.  Voyage  to  America. 
Grant  of  Pennsylvania.  (Meaning  of  name.)  Found- 
ing of  Philadelphia.  (Meaning  of  name.)  Treaty  with 
Indians.     Return  to  England. 

Release  of  thirteen  hundred  Quakers.  Return  to 
America  with  a  band  of  Quakers:  Government.  His 
work  with  the  Indians.     Death.     Character. 

Compare  the  lives  of  John  Smith  and  William  Penn.  Study 
the  lives  of  both  men,  following  the  suggestions  given  in  "  Sug- 
gestions."    Make  an  outline  before  beginning  to  write. 


Composition  CXXXVIII. 

MASSACHUSETTS. 

(Suggestions.) 

Location.  Causes  which  led  to  settlement.  Massa- 
chusetts under  colonial  rule.  Settlements  made.  Con- 
ditions of  country.  Massachusetts  under  royal  gov- 
ernors. Causes  for  change  in  administration.  Return 
to  colonial  rule. 

Wars  prior  to  Revolution.  Revolutionary  War. 
Causes  of  this  war.  Massachusetts'  connection  with 
this  war.  Result  of  the  war.  Massachusetts  a 
State.  Character  of  its  occupations.  Character  of 
its  people.     Rank  in  the  Union. 


Composition.  237 


CALIFORNIA. 

(Suggestions.)  ' 

Location.  Early  settlement.  California  under  Mex- 
ico. Missions  established  by  Franciscan  monks.  Cause 
of  the  decline  of  power  of  these  monks.  War  between 
Mexico  and  the  United  States.  Struggle  for  inde- 
pendence in  California. 

California  ceded  to  the  United  States  by  Mexico. 
California  a  Territory.  Discovery  of  gold.  Question 
of  slavery.  California  admitted  into  the  Union.  Cha- 
racter of  its  occupations.  Character  of  its  people. 
Rank  in  the  Union. 

Compare  the  histories  of  Massachusetts  and  California. 
Study  the  histories  of  both  States  from  the  points  given  in 
"Suggestions."     Make  an  outline  before  beginning  to  write. 


Composition  CXXXIX. 

MASSACHUSETTS. 

(Suggestions.) 

Location.  Length  and  breadth.  Area.  Physical 
characteristics.  Surface:  mountain -ranges ;  Con- 
necticut Valley.      Climate. 

Advantages:  mines;  means  of  communication  with 
the  world;  water-power.  Leading  interests:  manu- 
facturing and  commerce.  Cities.  Relative  import- 
ance in  respect  to  area,  population  and  commercial 
interests. 


238  How  to  Write. 


CALIFORNIA. 

(Suggestions.) 

Location.  Length  and  breadth.  Area.  Physical 
characteristics.  Surface :  Sierra  Nevada  Mountains ; 
Coast  Ranges  ;  Great  Central  Valley.  Climate  :  wet 
and  dry  seasons. 

Advantages  :  mines  ;  means  of  communication  with 
the  world.  Leading  interests  :  mining  ;  agriculture  ; 
commerce.  Cities.  Relative  importance  in  respect 
to  area,  population  and  commercial  interests. 

Write  a  composition  in  Comparison  and  Contrast,  taking  for 
the  theme  "  Massachusetts  and  California."  Study  the  descrip- 
tion of  both  States  from  the  "  Suggestions  "  made  under  each. 
Make  an  outline  before  beginning  to  write. 

Composition  CXL. 

THE    MINISTER. 

(Suggestions.) 

His  experience  of  the  truth  of  God's  vv^ord.  The 
Bible  his  book  of  study.  Called  of  God  to  preach. 
Collegiate  and  theological  education.  Examination  for 
license.  Preaching  as  a  candidate.  The  embarrass- 
ments of  the  young  preacher.  Receives  a  call.  Or- 
dination and  installation. 

Labor  in  the  study :  preparation  of  sermons. 
Preaching.  Work  in  the  Sabbath-school.  Bap- 
tisms. Calls  upon  the  sick.  Funerals  and  funeral 
sermons.  Weddings.  Religious  conversation.  Pas- 
toral visitation  of  the  congregation. 


Compodtion.  239 


Fidelity  to  the  truth  whether  popular  or  not.  His 
literary  work.  Self-devotion  and  piety.  The  diffi- 
culties of  his  work.  A  leader  and  an  example.  The 
need  society  has  of  a  minister.  His  joy  and  reward 
in  his  calling.     Pecuniary  reward. 


THE     DOCTOR. 

(Suggestions.) 

His  choice  of  a  profession  decided  by  his  tastes  and 
individual  fitness.  Three  years'  study  and  observa- 
tion under  a  medical  preceptor.  His  college  course. 
The  dissecting-room.     Hospital  experience. 

His  graduation  but  the  threshold  of  his  experience. 
His  settlement  in  practice.  Choice  of  a  location.  The 
embarrassment  of  his  position  in  society.  Waiting  for 
business.  His  aim  to  keep  pace  with  scientific  in- 
vestigation and  discovery.  His  experience  at  the 
bedside  of  the  sick.     Undivided  responsibility. 

First  experience  in  losing  a  patient.  His  duty  to 
the  afflicted  friends.  Private  consultation  and  pro- 
fessional secrets.  His  duty  to  relieve  suffering  when 
life  cannot  be  saved.  Night-work.  How  regarded 
by  his  patrons  and  the  public.  The  effect  of  his  pro- 
fession on  longevity.     His  reward. 

Write  a  composition  in  Comparison  and  Contrast,  taking  for 
the  theme  "  The  Minister  and  the  Doctor."  Follow  the  "Sug- 
gestions "  made  under  each.  Make  an  outline  before  begin- 
ning to  write. 


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